(e) Title to and ownership of this Software and documentation and any reproductions thereof shall remain with NEWTEK, (f) Use of this Software and documentation shall be limited to the facility for which it is required, and, (g) If use of the Software is discontinued to the installation specified in the purchase/delivery order and the US Government desires to use it at another location, it may do so by giving prior written notice to NEWTEK, specifying the type of computer and new location site. US Governmental personnel using this Software, other than under a DoD contract or GSA Schedule,

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are hereby on notice that use of this Software is subject to restrictions which are the same as or similar to those specified. NewTek Inc. Limited Hardware Warranty
This warranty covers only the hardware portion of the TriCaster Product delivered (Product) and extends to the original purchaser only. Software is licensed to you, not sold, under a separate license agreement, above, that has its own warranty terms. NewTek warrants that for a period of 1 year from the date or your original purchase of our computer/video product (hardware), it shall be free from defects in material and workmanship. If a defect is determined to be covered by this warranty as determined by NewTek, NewTek will correct it, and may do so using new or remanufactured components. NewTeks Liability and Limitations. NewTeks obligations are only as expressly stated herein. NewTek is not liable for loss or damage for inconvenience or interruption of service, loss of business, data or anticipatory profits, or consequential, incidental or punitive damages resulting from the use (or operation) of any of the products purchase by you. NewTeks liability is limited solely to the repair or replacement of the defective product. NewTek is under no obligation or responsibility to enhance or update the product. This warranty does not cover damage or malfunctions resulting from improper handling, accident, misuse, abuse, neglect, electrical surges, failure of electrical power, use with other products not manufactured or approved by NewTek, installation or removal charges or damages, damage while in transit for repair, repair attempted by any unauthorized person, or any other reason not due to defects in materials and workmanship. This warranty is also void if any applicable serial number has been altered, defaced, or removed. The hardware and software in this product are designed to work in conjunction with each other. Any termination of the Software License, including use of the software, or any portion of the software, not in conjunction with the hardware provided in the same computer, will void all warranties and any technical support service otherwise available. To Obtain Warranty Service. To obtain free repair under this warranty, contact NewTek Technical Support for confirmation, receive a Returned Materials Authorization (RMA), and deliver the product along with proof of ownership (such as the original invoice, or a photocopy) to NewTek. You will be responsible for any costs associated with the delivery to and from our service center. Other Legal Disclosures. The above warranty is exclusive and in lieu of all other warranties, expresses or implied (other than those warranties implied by state law). All applicable state statutory implied warranties, including, but not limited to implied warranties of merchantability or fitness for a particular purpose, shall be limited to a period of 1 year from the date of your original purchase. No warranties, either express or implied, will apply after this period.

Page | xv

Because so many states have different laws that are ever-changing, and because we have no desire to conflict with these laws, then any term of this warranty that is prohibited by applicable law shall not apply. Some states do not allow limitations on how long an implied warranty lasts or the exclusion of warranties or of incidental or consequential damages, so the above limitations or exclusions may not apply to you. This warranty gives you specific legal rights, and you may have other rights which vary from state to state.

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PART I (GETTING STARTED)
Introducing TriCaster TCSD connections and registration, a top-level overview of primary features, and a hands-on tour to get you started.

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ABOUT THIS MANUAL
Hate reading manuals? If so, you are part of the majority (estimates are that between 60 and 97% of the human race concur). Most prefer to jump right in, maybe asking a friend for occasional help (and who can blame them)? This manual attempts to tell you what you need to know in a friendly, concise way, while also providing a deeper reference section you can turn to when you really need specifics.
If you do hate reading, please take a moment to peruse at least this section, which explains the manuals organization. You may find you can escape with a minimum of reading. (Or, if you are a devout reader, you can be the hero others turn to for expert advice.)
Part I - Getting Started: introduction to TriCaster; connecting devices (cameras,
monitors, etc.) and registration, ending with the Live Production Walkthrough a brisk jog through fundamentals, about 30 pages (if youre a quick study, this may provide all you need).
Part II Reference: chapters in this section cover every arcane detail related to using
TriCaster for those who need it, and those who just like to know everything.
Part III Appendices: leads off with a handy section titled How do I ?, a helpful
question and answer section with its own brief index. When you have a specific need, you may well find a quick answer here - along with cross references to more detailed information when appropriate. Appendix E lists all shortcut keys. Part III is also home to a comprehensive keyword index.

Figure 43

SLOW MOTION
If you need slow motion, simply place the mouse over the edge of this clip, then pressing the Alt key (note the cursor changes from IN or OUT to Stretch) and left-click and drag the clip to make it longer. Dragging the clip to twice its length will cause playback at 50 percent speed. You can now adjust the in and out points of this clip, and the playback speed will remain as you set it.

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COLOR CORRECTION
If we wish to color correct this clip, scroll down the Controls window to Color Correction near the bottom. Click the + symbol to reveal our options. Place the time bar at the beginning of this clip, and Press the Keyframe button upper right. We have now set full color at the beginning. Scrub to the middle of the clip and change Saturation to 0.00. Click Keyframe. Now our clip slides from full color to black & white.

FADE IN/OUT

Instead of having this clip abruptly appear, we can fade it in. In Timeline mode, note each clip has a small white triangle at lower corners. Position the cursor over this corner and when it changes to Fd, you can now left-drag that inward. Do this on both sides of the clip, and now our picturein-picture smoothly fades in and out. You can also position clips off screen and move them in during playback.

Figure 44

CHROMAKEYING
The Media Editor also allows real-time chromakeying, removing colored sections of a clip. To see this, drag a greenscreen demo file from the Media Bins Clips folder into the Timeline place it beneath another video clip. Page | 49
Click Overlay to the right and return to Control tab. At the bottom of the controls list, click the + next to Chroma / Lumakeying to reveal its options. Select the color of the green screen by right clicking in the Key Color selector, and, holding the right-mouse down, drag the eyedropper to the Project monitor. Click to enable Chromakey (the middle button of three above the color well), making this color transparent. On playback, you now have the foreground of the greenscreen video layered on top of your base clip. Another place rich for exploration is Tool Shed, automating many routines used in day-to-day editing. Well postpone that discussion until a bit later, though.

FADE AND TAKE

Click Fade to display the Overlay on the LIVE Output stream using a dissolve effect (using the current Transition speed setting). Click again to fade it out. Likewise, clicking Take cuts the Overlay on and off the screen. Overlay Fade timing is controlled by the Transition speed. This ensures that the Overlay transition is performed in sync with Switcher transitions. Try this: Select the Crossfade transition in the Transitions section, and set up a Text overlay that introduces the clip currently selected in your Preview row. Press the a key, and a seamless transition from your Live source to the Preview source occurs, with perfectly timed introductory overlay display. (After a moment or two, press f on the keyboard to remove the title from view.)

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Alpha Channels
Of course, if the source you choose covers the entire video frame, it will completely obscure the primary output (hiding all other elements). Unless you want to bring in a full screen billboard graphic, this would be undesirable. Fortunately, overlays fully respect transparency levels (or alpha channel values) of the selected (Overlay) source. Thus the primary display will peek through transparent sections of the overlay.

Figure 56

Most of TriCasters Text Templates have transparent regions, and are well suited as overlays. Or you can use many graphic files formats (32bit files, with embedded alpha channel) in the DRR modules in similar fashion. When enabled as an Overlay, the embedded transparency of images and clips in the DDRs will be respected. Hint: PNG (Portable Network Graphics) or Targa32 files serve well as file format choices for still image overlays.

KEYSTROKE CONTROL

A number of very useful keystroke shortcuts are available: f Fade the Overlay (on/off toggle) d perform a Take of the Overlay display (on/off toggle) s Take All: swap the Main and Preview sources AND toggle the Overlay display on/off a - Fade All: Fade the Overlay on /off and simultaneously Auto the Main and Preview sources.

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SETUP AND AUDIO SECTION
This next section, comprising the bottom third of the screen, contains two tabbed rows of panels.

Figure 57

The larger set of tabs at left (Figure 57) provides the means to configure, modify, and in some cases create the video elements and sources comprising your program material as well as recording it.

Figure 58

The Audio tabs at right (Figure 58) offer similar configuration options and control over the audio part of your production. Lets examine each tab in turn, beginning at the left.

6.3.1 DDR 1 & 2

TriCasters DDR modules are media players, designed to permit you to integrate video and still imagery (or sound files) into your live presentation with utmost simplicity and professional style.

When producing newscasts, presentations and videos, its essential to identify speakers and to present key facts both visually and verbally. TriCaster provides several methods of quickly creating great looking text and graphics pages for live and edited projects. As this chapter focuses on LIVE Production, well discuss the Text panel tab nested in that section first. The Text panel features an easy-to-use template-based system. This lets you quickly call up and modify professional looking titles on the fly, adding your own customized graphics and logos. Text Templates are provided in lower third as well numerous full-screen page styles. Template menus list the available entries by Template Theme, allowing you to easily locate templates having a similar graphic style. This is useful with developing a look for your program.

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Figure 65 Text tab
The Text panel is divided into two halves a Preview (and Edit) pane at left, and the Playlist section at right.
The Playlist section contains an Add to List drop-down menu. Click in it to display a long list of available templates. As you run the cursor over the list, a thumbnail for the entry is displayed (use the scrollbar at right to see more templates.) Click an entry to add it to the playlist area below. Once you add a page, click on its thumbnail icon in the playlist to view it in the Overlay and Edit window at left. (When multiple files are selected, the page in the edit window will have a highlighted name in playlist.)

WORKING WITH TEMPLATES

To edit the selected title page, click on a line of text in the Edit pane to present a text entry field; Replace the current text with your own. When the principle line of text or primary title is updated, the page name automatically updates in the playlist. This makes it easier to quickly choose a specific page to display.

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Note: text in the templates is pre-formatted and pre-sized, so be careful text you enter is not cut off for some title pages. Often you will wish to use a consistent style for numerous pages. Load the template page once, click the Clone button (above the playlist) as many times as required, then modify the clones. Hint: Double-clicking a page in the Text playlist promotes it to the Overlay window, where it awaits display on Live output. You can use the previous/next gadget to the right of the Overlay window if your pages are already sequenced in the Text playlist.

Figure 69
For camera inputs (or other external analog source), select one of Composite, Y/C (S-Video), Y/C (BNC), Component or SDI for the Type, as appropriate for the sources you have available. Note that only TriCaster BROADCAST has an SDI Connection Type option; as it does not offer a Y/C (SVideo) input, use Y/C (BNC) when required. Hint: An S-Video connection will produce a better-looking result than Composite. In turn Component is better still; SDI trumps them all.

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6.6.3 PROC AMP
Each camera can be selected in turn, and each has full Proc Amp (processing amplifier) controls, to make your image look its best. After selecting a specific Input, you can then refine how the camera looks on screen. (The Proc Amp can also help you to balance the signal from dissimilar cameras so they match reasonably well.)

Figure 70

There are four basic adjustments in TriCaster Brightness, Contrast, Hue and Saturation. The first two controls (Brightness and Contrast) are familiar to all of us, and really need no explanation. Hue adjusts the master color of the video signal from the attached source, swinging the entire image through the color wheels spectrum. Saturation controls the intensity of color in the image. Zero saturation produces a black and white picture; increased saturation results in richer colors. However the nature of video display and standards is such that over-saturation can quickly result in illegal video signal values. Illegal levels manifest themselves in all sorts of nasty ways, including smearing and crawling colors, and even audio issues so be conservative when raising Saturation. (Your TriCaster system provides Waveform\Vectorscope monitors, an invaluable way to accurately monitor the video signal to avoid this sort of issue.) All control knobs decrease value when you drag the mouse to the left over them (holding down the left button) and increase when you drag to the right. Double-click a knob to restore the default setting for that one parameter. Clicking Restore Defaults clears all of your adjustments, resetting the currently selected input to factory default values. Hint: Control knobs in TriCaster have a defined response to mouse movement, but very fine adjustments can be made by holding down the Ctrl key while turning a knob. Rotation of the knob relative to mouse movement is then reduced by a factor of ten, allowing much greater precision.

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U Offset and V Offset offer another approach to adjusting color for analog video sources: The U portion of the video signal carries the blue and yellow color information. When you adjust the U Offset, you adjust only the blue/yellow portion of the video signal. Rotate U Offset clockwise to shift the signal toward blue, counterclockwise to shift the signal toward yellow. The V portion of the signal carries the red and green color information. Adjusting it affects only the red/green portion of the video signal. Rotate V Offset clockwise to shift the signal toward red and counterclockwise to shift the signal toward green.

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Note: A similar color swatch next to the Italic switch allows you to modify the default color used for the main face of your text. The Edit buttons between the color swatch and the Shadow and Edge buttons permit interactive adjustment of these two attributes. Clicking Edit for either option first enables the option so you can observe the impact of changes you make. Then, if you opt to Edit a shadow, the cursor over the object it becomes a 4-pointed star, indicating you can now drag the shadow without affecting the text itself. Try this, and watch the result on the main Edit monitor. If you click the Edit button for Edge, the pointer becomes a circular outline with an arrow reminding you to drag dragging left or right will increase or decrease the width of the outline around the object.

Figure 154

Click the Arrow button in the Compose section of the tool panel, and your text is bounded with a box. You can scale the text by dragging a corner or side, move it by dragging inside the box, or rotate it by holding down shift and dragging a corner!

GROUPING OBJECTS

The Object section at the bottom of the tool pane is not difficult to use. Beyond the obvious, you can group objects on the title page by multi-selecting them, and clicking the Group button (we leave it to the reader to guess what Ungroup does).

Figure 155

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Note: To multi-select items on the screen, you have two options: Drag a marquee around multiple items with the mouse, or Ctrl + click them successively. The Depth buttons in the same section move the current object forward (towards the foreground) or backward one level per click, allowing you to arrange objects on the screen in front to back order as you please.

Figure 156

ANIMATING TITLES
We deliberately skipped over the uppermost section, labeled Timeline. Lets consider it now. Notice the Keyframe button? Yes, you can animate any line of text or drawing object. Lets test this out. First though, lets note a couple of useful features: The Show Layers button will show the project content behind the title page you are working with. And Zoom In and Out make it easier to work with small objects, or outside the standard video frame. These can both make your current job easier at times. Zoom out a bit, and then drag a line of text to the upper left corner of the composition window, placing it just outside the active video frame. The composition window has a local time bar. Move the edit line in it all the way to the left (the first frame of the title), and click the Keyframe button to mark this spot.

Figure 165

With your text still bounded in its box, you can click on any style, and the text assumes those settings. Any style can be modified and added to the styles bin.

THE OPTIONS TAB

Click the Options tab next, and you will see an array of convenient tools and display options to assist you in creating your CG masterpieces. Use the Grid to carefully position items in a row or column (Snap can help with this.) Guides are lines you add wherever you like temporarily to assist with alignment they never appear in the result. Click Add Vertical or Horizontal to place a new guide, then drag the mouse over it to position it.

Figure 166

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THE POSITIONING TAB

This final tabbed panel gives you a little more room in the composition window, and also provides a convenient Reset button for keyframes. As well, it gives access to some full page scope interactive tools like Crop and Smoothing (these correspond to the tools by the same name discussed later in the main Controls section, so well leave coverage until then.

Figure 167

PRE-BUILT TEXT PAGES
The Templates folder is found by clicking the Titles Hotlist button. Here you will find more than 170 professionally designed CG page styles which can be modified for use in any project. The changes are saved as part of the project, but if you wish to re-use this page, you can hold down the Ctrl key and drag a copy of that.cg page into a Media Bin folder. This copy can then be quickly re-used in other projects. Note: These templates are not compatible with the Live Production Text feature. However, they can be rendered and then added to a DDR for use with the Overlay feature. In some cases, you may wish to use the Render> TriCaster Overlay (avi with alpha) option to retain transparency. YOUR OWN CUSTOM TEMPLATES To save any of these pages, navigate to the Media folder you wish to store it, and Ctrl-drag a copy of it from the project into the folder. You may rename this VT Data file if you wish as a *.cg page for later use.

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Click User Presets in the Tool Shed, and then click the New button. Supply a name in the text field that pops up, and press Enter on the keyboard. Your new custom preset is added, and can be used over and over again, or be applied to many clips at once -- just like the Default Presets. Note: In both sections (Default and User), you can selectively enable or disable specific attributes in the effect settings. Click the [+] button next to an item (such as Layer Settings) to toggle its application in the current effect. (Its useful to know, too, that you can create presets retaining only user-modified attributes by first holding down the Shift key when you press New.)

MARKERS

Timeline markers (discussed earlier in Section 8.4.7, Markers) serve many purposes. The tools in this section permit you to add, edit and quantize marker positions in various convenient ways.

TRANSITIONS

The Transitions group in the Tool Shed lets you add Transitions to a few clips or you entire project at once. You can also adjust the timing of existing Transitions, or replace them with a different one.

Figure 173

The options are easy to understand, and Help provides reminders if necessary.

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The Video group provides some wonderful tool. You can reset clips to news lengths, Stabilize shaky video, and much more. Lets consider an example using the Match Colors wizard.

Figure 174

In this case, we have two similar clips, but one was underexposed. To correct the problem, we select the correctly lit shot, and click Learn. Then select the second clip (the poorly lit one) and click Perform. Its that easy.

Figure 175

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Figure 175 shows the result. In the Options section of the panel, you can individually toggle the effects operation on Brightness, Contrast and Color.

WIZARDS

In the Wizards group, you will find the Cut to Music item. This is a wonderful too, and can make you look like an MTV pro with a few clicks!

Figure 176

An example of its use might be a corporate photo montage. You have a folder of digital photos from an event to use. You drop them all into the project, where they assume the default 5 second duration assigned automatically in TriCaster. Next, you drag the music file you want to use for the project onto the timeline, and select it. Click the Play button, and as you listen to the music, press the m key on the keyboard at each main beat you hear. When youre done, simply click the Perform button in the Tool Shed, and your clips are all perfectly trimmed. Hint: for slower music, you may want to use the Tool Sheds Video tools to change the default length of all your photos or clips to something longer first. Afterward, you can use the Tool Shed again to add transitions at each cut, too! See why they call it a Wizard?

Select the port forwarding page of the router controls. These options may be found in an obscure place, such as the routers Applications and Gaming page (since online gaming often requires port forwarding.) Enter an Application name, if required (this is for your own recognition purposes, so use anything you like) Enter the Start and End port values you can use the same port number in both fields, but of course it must be the one you set in the TriCasters Port field. IF possible, select Both for Protocol (or select UDP)

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Enter the full (punctuated numeric) local IP address shown in the Location field of your TriCaster after you enable the stream. Checkmark Enable
Note: Some routers may have other security settings that need to be modified for your Pull stream to be visible from the outside. For example, the Linksys router shown above has a setting in the Security page named Block Anonymous Internet Requests. While this may be a great idea normally, its not going to help much when outside computers request that your system permit them to Pull the video stream, is it? There are countless makes and models of routers for information on various models, and a great deal of help on port forwarding generally, we can recommend the following site: http://www.portforward.com/english/routers/port_forwarding/routerindex.htm
Firewalls You may also run into software firewalls. Generally, these can be configured in similar to permit exceptions to the firewall policy, permitting specific ports or applications to be opened to the world. Information on exception in the Windows XP Firewall can be found in its Help system: Open the Windows Security Center (double-click its icon in the Task Tray) Click "How does a firewall help protect my computer" Click Related topics Select "What are Windows Firewall settings used for?" Click Related topics again. Click "Allowing a program to communicate through Windows Firewall"
FINDING YOUR EXTERNAL IP NUMBER
Again, the numbers assigned behind your router only work locally. In a Pull scenario, you need to supply the true external IP number (and port) for your TriCaster to viewers outside the LAN (Local Area Network.)

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You can find this number in several ways. For example, your router will display it as its IP Address in its Status page. Or, you may want to simply one of several handy websites that will quickly supply your current IP number (one such is http://www.whatismyip.com). Simply go to the website in your browser and read the IP number from the screen. Append a colon and the port number you are using to this number and youve got everything you need for your viewers to connect.

SPEED TESTS

Are you sure your upload bandwidth is adequate to the bitrate youve set for your stream? Why not test and make sure. Again, a number of websites provide free speed testing. These will give you a basic idea of what your local bandwidth really is. One site which provides a list of online speed test resources is: http://www.dslreports.com/speedtest?more=1

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PERFORMANCE CONSIDERATIONS
Your TriCaster has been carefully designed to faithfully execute its duties under any reasonable circumstances. Still, your production environment especially in remote locations may impose limitations that you are wise to consider. This chapter discusses a few matters that may help you get optimal performance in less than ideal settings.

C.1 TESTING, ONE TWO

Professionals simply do not leap into new environments blindly. They prepare, plan, plan some more, and then most importantly they test. This allows them to tackle the really tough jobs with confidence.

C.2 IVGA AND PERFORMANCE

Although iVGA is highly efficient, it does require significant system resources taxing the CPU, GPU (and even the AGP or PCIe bus) of client systems, especially when a large portion of the display is refreshed. This is not normally problematic as for iVGA purposes the client system is not required to perform other concurrent tasks. Its entire duties involve providing a video source for the (downstream) TriCaster via the iVGA client software. However, it is very unwise to install and run the iVGA client software directly on a TriCaster itself. TriCasters live video processing requires unhindered CPU and GPU access. Adding the resource demands of the iVGA client to TriCaster would almost certainly cause frames to be dropped on output, and should simply never be done. The same warning applies to other screen-sharing or remote desktop applications, which would actually be as bad or worse. Of course iVGA benefits from the fastest possible network connections between remote clients and TriCaster even when used as directed. This is especially true if you intend to stream high resolution motion graphics to TriCaster using iVGA.

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C.3 IMAG AND LATENCY
Whats IMAG? Its a compression of the expression image magnification. Typically in modern IMAG applications, video cameras supply live imagery to projection systems, magnifying speakers and performers so that audience members further back in large venues can still see whats going on. IMAG is a very tricky task at the best of times, one that calls for excellent planning, and where possible, testing. Those designing an IMAG installation have, not just one, but two inter-related broadcasts two consider in the form of the audio and video streams.

Figure 236

Connect your camera to the correct TriCaster input, block the lens so it receives no illumination, and check the level shown in the Waveform monitor. For NTSC, it should be 7.5 IRE, for all others, 0 IRE. To check white, use a standard white card or even a sheet of white paper. Ensure that it is evenly illuminated with the same lighting your main subject will receive, move or zoom to fill the viewfinder with it, and confirm that the Waveform monitor is showing 100 IRE. Page | 251
If not, you might try using your cameras Auto White Balance feature with the white card your camera manual will provide instructions. Afterwards, check the black level again. Some more professional cameras offer full manual controls for white balance and/or black level. Use these as instructed to ensure your camera is providing the correct white and black levels. If you cannot make source adjustments, or cant get it quite right by these means along, you can use the Brightness and Contrast controls in the Proc Amp TriCaster provides for that input to tweak black and white levels. (Of course it is always best to perform adjustments at the source if possible.)

D.2.2 ADJUSTING COLOR

Were going to move into color calibration next, but first we can actually use our black and white signals for some further tests.

VECTORSCOPE

While were still working with black and white levels, we can introduce TriCasters Vectorscope, and perform an initial test of the cameras color balance. A vectorscope (Figure 237) can be likened to the familiar color wheel (Figure 238) which sweeps radially through the colors of the spectrum yellow, red, magenta, and so-on, around the arc of a circle. Colors are more progressively intense (saturated) towards the outside of the circle, while color saturation is zero at its center.

Figure 237

Figure 238

Page | 252

As it happens, from the vectorscope point of view, neither black nor white properly have any color saturation. Thus with the lens cap on (or with a white card filling the viewfinder), the vectorscope should show only a small fuzzy trace at its center. If the fuzzy dot is off-center horizontally or vertically, this would indicate that the camera is incorrectly calibrated, actually tinting gray areas. When the trace is off center, the direction and distance of the offset tells us what sort of tint (and how much) is represented by the deviation. You may be able to use the color controls at your camera to correct for this offset, or you can use the U Offset and V Offset controls in TriCasters Proc Amp to do so (as always, source controls are best). Adjustments to U Offset move the trace left or right, while V Offset changes adjust its vertical position. Lets move on to a slightly more rigorous testing.

E.1.2 T-BAR

Take Take T-Bar Back to Top Auto Go/Pause. Auto Reverse Adjust T-Bar Down/Up Halfway T-Bar Take/Auto User T-Bar Position Take/Auto User T-Bar Position Set/View LiveSet - zoom In/Out LiveSet selected on Preview Return Key Shift + Return Spacebar Shift + Spacebar T / Shift + T (faster add Alt) H / Shift + H G / Shift + G Alt + g / Alt Shift + G Page Up, Page Down

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E.1.3 DDR 1 & 2
Play/Stop Jog Backwards/Forwards Rewind/Fast Forward Stop/Go to Start Pause (On/Off) Cue On/Off Go to Start/End Step through Clips Playlist - select to top Playlist - select to bottom Playlist add to selection (up) Playlist add to selection down One Frame Back/Forward Five Frames Back/Forward One Second Back/Forward Go to Time Position Loop On/Off LED Normal/Time Remaining LED Local/Total Time Mark In/Out Point Clear In/Out Point Go to In/Out Point Adjust In Point Adjust Out Point K J/L Shift + J / L Ctrl + K P U Home / End Keys Up / Down Arrows Shift + Home Shift + End Shift + Up arrow Shift + Down arrow L/R Arrow or Alt + J / L Shift + Left/Right Arrow Ctrl + Left/Right Arrow Ctrl + G ; Shift + ; I/O Alt + I / O [ and ] [ + Left/Right Arrow ] + Left/Right Arrow

E.1.4 VGA OUTPUT

Take VGA Overlay Fade VGA Overlay Esc Shift + Esc

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E.2 CAPTURE MEDIA E.2.1 CAPTURE
Record/Stop Pause Toggle Delete Enter Key Spacebar Delete Key (when stopped)

E.2.2 DV DECK CONTROL

Reverse Shuttle Pause / Play Forward Shuttle Rewind Stop Fast Forward One Frame Back One Frame Forward Go to Time Position J K L Shift + J Shift + K Shift + L Alt + J (when paused) Alt + L (when paused) Ctrl + G
E.3 EDIT MEDIA E.3.1 CAPTURE
Record/Stop Pause toggle Chop recording Reset (Clear) recording Delete Enter key Spacebar Backspace Delete key (when recording) Delete key (when stopped)

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E.3.2 DV DECK CONTROL

E.3.3 PLAYBACK

Play/Stop Pre-roll and Play Backwards/Forwards Rewind/ Fast Forward Stop/Go to start Go to Time position Go to Start/End of project. Step through clips Step through clips and zoom (timeline) One Frame Back One Frame Forward Five Frames Back Five Frames Forward One Second Back One Second Forward Adjust Offset (-/+ 1 frame) Spacebar (or K) Shift + Spacebar J/L Shift + J / L Ctrl + K Ctrl + G Home / End buttons Up / Down arrows Shift + Up / Down arrows Left Arrow 1 or Alt + J Right Arrow 2 or Alt + L Shift + Left Arrow or 3 Shift + Right Arrow or 4 Ctrl + Left Arrow Ctrl + Right Arrow Alt + Left/Right Arrow

Revised May 04, 2011 TriCaster TCXD850, TriCaster TCXD850 CS, TriCaster TCXD300,TriCaster DUO, TriCaster, TriCaster PRO, TriCaster PRO FX, TriCaster STUDIO, TriCaster BROADCAST, 3Play, SpeedEDIT, DataLink, LiveText, LiveControl, VT, VT[3], VT[4], VT[5], Video Toaster, Toaster, Inspire 3D, 3D Arsenal and Aura are trademarks of NEWTEK. LightWave and LightWave 3D are registered trademarks of NEWTEK. All other brand names, product names, or trademarks belong to their respective holders.

TRICASTER TCXD850

TABLE OF CONTENTS
TriCaster TCXD850....3 PART I (Getting Started)....2 About This Manual....3 Introduction....5 2.1 2.2 2.3 Overview....5 Startup Screen....5 Live Desktop....6
2.4 Features....7 2.4.1 Physical....7 2.4.2 A/V Input and Output...8 2.4.3 Monitoring....8 2.4.4 Video Processing....9 2.4.5 The Switcher....9 2.4.6 Video Layers and Transitions...10 2.4.7 Record and Stream....11 2.4.8 Audio Mixer....11 2.4.9 Integrated Media Players...12 2.4.10 Keying, Virtual Sets and Virtual Inputs...13 2.4.11 Streaming....13 2.4.12 Graphics....14 2.4.13 Edit....Setting Up.....15 3.1 3.2 Command and Control....15 Activating & Authorizing Windows...16
3.3 TriCaster License and Registration...17 3.3.1 Online Registration....17 3.3.2 Registering by Telephone...18
3.4 Input Connections....18 3.4.1 Connect A/V Sources....18 3.5 Genlock Connection....20 3.5.1 Genlock Connection....20 3.6 Output Connections....21 3.6.1 A/V Output....21 3.6.2 HD and SD...22 3.6.3 Connecting Devices....23 3.6.4 Supplemental Video Outputs...24 3.7 Tally Lights....25 3.7.1 External Connections....25 3.8 Starting a Session....26
3.9 Configure Video Output...29 3.9.1 SD Analog Configuration....29 3.10 3.11 3.12 3.13 3.Configure Multiview Output....31 Configure Video Input...31 Configure Audio....33 Configure Genlock....35 Networking....36
Live Production Walkthrough...39 4.1 4.2 Creating a Session....39 Importing Content....40
4.3 Monitoring....41 4.3.1 Program Output....41 4.3.2 All Monitors....42 4.3.3 Switcher Monitors and Scopes....43 4.4 Audio Mixer.....44 4.4.1 Mute, Mono and Balance...44 4.4.2 Pan....47 ii

4.4.3 4.4.4

Talk.....48 Follow....48
4.5 Network Sources....49 4.5.1 iVGA Clients....49 4.5.2 LiveText....51 4.6 Live Switching....51 4.6.1 Switcher Rows....51 4.6.2 Transitions...55 4.7 Record and Grab....60 4.7.1 Record....61 4.7.2 Grab....62 4.8 Media Players....63 4.8.1 DDR 1 and 2....63 4.8.2 Stills....68 4.8.3 Titles....70 4.9 LiveMatte....72
4.10 Virtual Inputs....74 4.10.1 Composing Inputs A and B...74 4.10.2 Adding an Upstream Overlay...77 4.10.3 LiveSet....79 4.11 Frame Buffers....82
4.12 Streaming....84 4.12.1 Streaming Configuration...84 4.12.2 Simple Pull Streaming...85 4.12.3 Push and Flash Streaming...85 4.12.4 Capturing the Stream...86 PART II (Reference)....The Startup Screen....89 5.1 5.2 Introduction to Sessions....90 The Home Page...91 iii
5.2.1 5.2.2 5.2.3 5.2.4 5.2.5 5.2.6
New (Session)...92 Open (Session)....94 Shutdown....97 Utilities.....97 Help....99 Add-Ons.... 100
5.3 The Session Page....101 5.3.1 Live.... 102 5.3.2 Graphics.... 104 5.3.3 Edit.... 105 5.3.4 Manage.... Live Desktop: Overview....113 6.1 6.2 6.3 Display Requirements....113 Overview.... 114 A Few Hints.... 114
6.4 Customizing the Live Desktop... 115 6.4.1 Desktop Options Menu.... 115 6.4.2 Rename.... 116 6.4.3 Dual Displays and Monitoring.... 117 6.5 Titlebar Tips.... 118 6.5.1 Status Bar.... 118 6.5.2 Eject.... I/O Configuration....119 7.1 Output Configuration....119 7.1.1 Output Controls....120 7.1.2 Proc Amp... 121 7.1.3 SD Analog Connections.... 123 7.1.4 Aux Output....124 7.1.5 Multiview Output.... 126 7.1.6 Genlock.... 128 7.1.7 Center Frequency.... 130
7.2 Input Configuration....130 7.2.1 Connection Type... 131 7.2.2 Act as Alpha...134 7.2.3 Proc Amp... 136 7.2.4 LiveMatte & Crop.... Switcher, Transitions and Overlay...139 8.1 Switcher Rows... 139 8.1.1 Utility (and Delegate).... 140 8.1.2 Program and Preview.... 141 8.2 Video Layers.... 142
8.3 Transitions..... 143 8.3.1 Local Controls....144 8.3.2 Main Controls....150 8.3.3 T-Bar.... Desktop Monitors....153 9.1 Program Output....153 9.1.1 Configuration Indicators... 154 9.2 Look Ahead Preview....154

Assign any Switcher source or a dedicated Frame Buffers to either channel. DSK channels can be displayed in tandem or independently, or swapped again, with independent custom transitions. You might use the Stills, Titles and DDR modules to overlay graphics and text, including scrolls, crawls and motion lower-thirds or you may delegate a Camera input or Network source as an overlay (using the Switchers Utility row). Alternatively, use the Frame Buffer feature to assign a specific title or image to any overlay channel, and even update it in realtime over a network using external graphics or titling software. Independent Crop, Position, 3D Rotation, and Scale controls for each DSK channel permit you (for example) to configure two live sources as Picture in Picture elements using the DSK channels, freely switching them on and off (with or without individual custom effects), with or without changing the BKGD (Background) video layer using the Program and Preview rows on the Switcher.

2.4.7 RECORD AND STREAM

Record your live-switched production at full resolution to a multi-platform compatible format, or archive your Internet stream. Recorded files have embedded timecode based on local time options. Record to internal (removable) or external storage devices. Simultaneous output for broadcast, projector and live web stream to in-house and remote audiences. Use either Windows Media or Flash Media streaming. Store approximately 50 hrs of 1080i (or 155 hours of SD video), of HD video.

2.4.8 AUDIO MIXER

Figure 7

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TriCaster provides extensive multi-channel audio control and management in two dedicated tabbed panels. Adjust individual audio sources (internal and external) and introduce them into your program manually or automatically. Control output levels for program, headphones, auxiliary output and stream separately. Presets allow single-click access to prepared mixer setups.
2.4.9 INTEGRATED MEDIA PLAYERS
TriCasters numerous specialized Media Players and title system serve up graphics, titles, video clips and audio files quickly and easily during your live productions. Add a/v clips, sound files or still image files to Media Player playlists. Trim and re-order playlist entries. Store playlists as presets for easy recall. Flexible playback controls include variable Speed and Loop options.

Figure 8

Start and stop playback manually or automatically. Use two Media Players to create automated slide-shows, complete with transitions. Assign titles, graphics or a/v clips to multiple Overlay channels. Edit titles live, even while on air.

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2.4.10 KEYING, VIRTUAL SETS AND VIRTUAL INPUTS

Figure 9

Use LiveMatte realtime keying technology for green/blue screen effects. Apply independent LiveMatte settings to all video sources. Achieve the look of a sophisticated studio setting in a very small space with NewTeks astonishing LiveSet virtual set technology. Zoom in/out on LiveSets during your live productions right from the Live Desktop. Virtual Inputs (Figure 9) permit M/E (Mix/Effect) style compositions of two primary switcher sources, with convenient Scale, Position, Crop and Rotation controls. Virtual Inputs also sport an integrated overlay channel (selected from any Switcher source or an assigned Frame Buffer graphic) with its own position controls. Convenient module presets allow single-click access to prepared playlists along with pre-configured Virtual Input setups.

The first tab in this panel is labeled Output. Optional settings for SD Analog Connections are located in the lower part of this pane (Figure 23). The SD Analog Connections settings group in the lower part of the Output tab provides options for the first two video outputs designated as Hardware Row 1 and 2. The video formats for Row 1 and Row 2 output always conform to the session, but their connection types are independent of one another. For an SD session, you can choose between a Component connection type and Composite + Y/C. (Since the only analog connection possibility for HD sessions is Component, these options are locked.) Selecting the Composite + Y/C option sends composite video output to the second BNC connector in an output row (labeled Y), and Y/C to the third and fourth connectors (labeled Pb and Pr, respectively).

Figure 23

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3.10 CONFIGURE MULTIVIEW OUTPUT
The Display Mode section of the next tab in Output Configuration determines what is displayed on TriCasters Multiview video output, and the resolution of that display. You might use this output to supply a video projection system or subsidiary monitor. Set the VGA Output Resolution to the native resolution of the external device, and try the various display options to find the one that best suits your need. The Screen Layout drop-down menu provides numerous optional displays, including Program, Preview or FX monitors, an All Sources (monitors for all Switcher sources, plus a clock) option, and many more.

Figure 24

3.11 CONFIGURE VIDEO INPUT
Lets continue by configuring the video sources you connected earlier (Section 3.4): 1. 2. 3. Click the All Monitors tab at upper-left on the Live Desktop. Move your mouse back and forth over the input monitors labeled Camera (1-8). Notice that a Configure button (gear icon) appears above the top-right corner of the input monitors as you do so.

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Figure 25
Click the Configuration button to open a tabbed settings panel for Camera 1 (Figure 25). Click the Connection Type button to reveal a drop-down menu listing a variety of connection types. Select the correct format, such as 720p (Component), or 1080i (SDI), etc., for the video source you plan to connect to this input. Close the Configuration panel for now (note that you can click the Close button or simply click outside the panel to close it). Continue to configure all connected external video sources in the same manner.

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Well look at the other options and settings in the Configuration panel later (see Section 7.2), but at this point you should be able to view the video inputs you have configured on their respective monitors.

LIVE SWITCHING

Back in Section 3.4, you connected cameras to inputs on TriCasters backplate and configured them. If you havent already done so, lets explore basic Switcher operations.

4.6.1 SWITCHER ROWS

The Switcher features 3 rows of labeled buttons. From top to bottom, the three rows are labeled Utility, Program and Preview. Each button on a Switcher row represents one of the many and varied video sources available. The first eight buttons represent Cameras 1-8, while the others are for other special sources (discussed soon).

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Figure 42
Clicking a button in any row selects the active source for that row. Utility row selections serve various special purposes that well come to a bit later. Your Program and Preview row selections determine the content of the Background (BKGD) video layer.

VIDEO LAYERS

Three of the four primary video layers BKGD, DSK 1, and DSK2.

Figure 43

The BKGD layer constitutes the base of the video composition ultimately sent to Program Output. Based on your Switcher operations, as many as three other primary video layers may be superimposed above BKGD on output: The DSK 1 and DSK 2 video layers are most commonly used to apply graphics or titles to the BKGD layer (DSK stands for Down Stream Keyer). FTB (Fade to Black) constitutes a final video layer prior to output one that can obscure all others when called upon to do so. (FTB is less commonly used, and unlike the other primary video layers, it has no local transition controls).

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As stated in the previous section, the Program and Preview row selections determine the content of the Background (BKGD) video layer. The Preview row selection is normally cued up for the next Take (cut) or Transition operation. Either operation, once completed, results in the swapping of the original Program and Preview selections. Of course during a transition, portions of both Program and Preview row selections can be seen in varying amounts. It is possible for the BKGD layer composition to include other content as well, as well see later in Sections 4.9 (LiveMatte) and 4.10 (Virtual Inputs). Hint: By default, selecting a tabbed module (DDR1, Still, etc.) on the Preview row automatically shows the corresponding control panel in the tabbed panes below. Click the Desktop Options button (gear), at extreme right just above the tabbed panes, to enable or disable this behavior.

CONFIGURING CAMERAS

Lets try out some of these concepts, shall we? (If you previously configured some cameras, feel free to skip ahead to the next sub-heading The Utility Row). 1. First, confirm that the Connection Type selected for your video sources is correct. a. b. Move your mouse over an Input monitor (All Monitors view). Open the Configuration panel for that video source by clicking the Configure button (gear) that appears in the monitors titlebar. Choose a Connection Type setting that is appropriate for the camera. Close the Configuration panel.

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17. In the file pane at right, click the thumbnail icon named Center in the World Update group, and then click OK at the bottom of the Media Browser. 18. Select DDR 2 as the source for Input B. The Zoom Preset icons in the Virtual Input tab and the name above will update, showing that the current LiveSet is now NewTek > World Update > Center.

Figure 74

Assuming that you still have LiveMatte enabled for the DDR, V1s Input A selector set to DDR and Input B set to Stills, a little adjustment in the Positioner for Input A is all that it should take to produce a result similar to Figure 74 on Preview. Input A is the primary input for the LiveSet, while Input B serves as a secondary source in this case assigned to the virtual desk-front monitor. 19. Enable the BKGD delegate in the Switchers Transition control group, and click the main Auto button. Both DDRs will begin running their currently selected clips simultaneously thanks to Autoplay (of course normally your foreground shot would be supplied by a camera).

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Figure 75
20. Now, click the second Zoom Preset icon (Figure 75). Observe that the view on Program output has now zoomed in by 33% - the value shown in the adjustable zoom slider above Zoom Preset 2 (Figure 76).

Figure 76

21. Enable the Animate Zoom switch, and click Zoom Preset 4. The zoom gradually changes from the starting position to the level assigned to Preset 4 (100%). The timing for the change is controlled by the S|M|F buttons (Slow, Medium, Fast) below, and the nearby duration time slider. Using the other Virtual Inputs along with convenient presets, you can easily mimic a very large studio complex from a much smaller location.

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4.11 FRAME BUFFERS
To this point, we have used photos, graphics and titles from TriCasters Media Players (DDR 1, 2, Still, and Title) as sources for several different exercises. Of course, for Overlay and DSK purposes, this requires you to be sure that that the current playlist entry in the respective Media Player is the right one for the moment. TriCaster TCXD850s Frame Buffers provide an alternative workflow that not prevents selection accidents, but also offers other benefits. 1. Open the Still module tab, and Add the image file named TriCaster Logo w. Bkgnd.png from Stills > NewTek > Logos to the playlist.

Figure 77

Right-click on the new icon in the playlist, and slide the mouse pointer down to the item Send to Frame Buffer. Select V1 BFR from the sub-menu that appears. Select the button labeled VI BFR as the Input B source in the V1 tab.

4.12.2 SIMPLE PULL STREAMIN G
Pull streaming is arguably the simplest way to get your production online: 1. 2. 3. Select Windows Media Pull as the Stream Type. Pick a Profile, and click the Stream button. Oh wait, there is no step three
Believe it or not, thats it. In a few moments, TriCasters streaming feature provides you with the IP (Internet Protocol) address of your computer as viewed from the network. This information will be provided to you as a punctuated numeric value in the Location display field. Hint: If your TriCaster is connected to the network by a router or is behind a firewall, it may be necessary to take further steps to provide external access. See Chapter 15 for a more elaborate explanation. You can provide clients or streaming providers this address. Entering it into the File menu of Windows Media Player (using the Open URL window) will direct WMP to show the stream from your system on client computer system(s) connected to the Internet (or intranet).
4.12.3 PUSH AND FLASH STREAMING
Windows Media Push and Adobe Flash streaming are slightly more complex, largely because they depend on external resources to distribute your stream to a wider viewing audience. These may be provided in house by your organization, or you may take advantage of a commercial (or free, advertising -sponsored) Content Delivery Network. (Arrangements and requirements of various external streaming hosts are diverse, but TriCasters Streaming Configuration panel adapts to provide the necessary input and information fields for the various types.) Page | 85
More detail on these matters, including connecting to a network and numerous useful tips on streaming strategies is found in Chapter 15.
4.12.4 CAPTURING THE STREAM
Whenever you are streaming your output, TriCaster archives the live stream as a file. Files are saved to D:\Media\Clips\sessionname\SavedStreams. This is a very useful feature. Among other things, it allows you to post the captured file to a website immediately after an event for video on demand streaming purposes for late arrivals or others who want to review the live event. Note: Remember to turn off the Stream when your production concludes, or TriCaster will continue writing the stream capture file.

IMPORT MEDIA
Click the Import Media link to open a system file explorer, then select (or multi-select) suitable media files for import. Selected files will be copied (unchanged) into the current session on clicking Open. Imported files are automatically copied individually to the appropriate folder according to their file format (Stills, Clips, Titles, and so on). Hint: Sections 4.2, 10.2.2, A.4.3 and A.4.5 discuss other aspects of importing media files.

EXPORT MEDIA

The Export Media function allows you to create a list of video files for export, selecting a new file format for these exports to be converted to (on a per file basis), and designate where to send them. Clicking the Export Media button opens a new pane.

Figure 103

Click the Add button at upper left to open a custom Media Browser (see Section 10.2.2 for browser details). Use this pane to locate and select (or multi-select) video clips for export. Hint: The Export Media panel can be resized by dragging its edges or corners with the mouse.

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Figure 104
The file pane is much like a spreadsheet table, listing all files in the current export batch in its first column, then the current settings for each file in other columns. A Status column shows the current export status or progress for each file in the list.
Note that the Export file list pane supports multi-selection. When a file (or group of files) is selected, you may use the Duplicate and Remove buttons at right to either clone or delete files from the list. The Duplicate feature is very useful for cases when you wish to export a file to multiple target file formats to be used for different purposes or in different applications.

Figure 105

Hint: Once files have been added to the export list, you can multi-select using standard Shift-click or Ctrl-click techniques, then apply options to all selected files in one operation.

Figure 106

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TARGET, PRESET & DESTINATION
Having prepared the file list, click the triangle button in the Target field to open a drop-down menu listing broad categories of export format presets you can choose. A similar Destination button opens a system file browser to let you designate (or create) a location for file output. Hint: It is possible to selected mapped network locations (with a Drive letter assigned) as the Destination, saving time later. Each file to be exported can have its own Target, Preset and Destination settings. The Export Presets shown vary, according to what is appropriate for a given session format. Note: When presets that do not natively support HD are selected during an HD session, output is automatically scaled as required to fit the selected file format. This is a convenience, but be sure to select a Preset suitable for your ultimate needs.

PAL analog format , standard definition, interlaced 720x576 pixels, 4:3 picture aspect or anamorphic 16:9 picture aspect Connected to TriCaster by Y input connector
Multi-standard TriCaster TCXD850 PAL connection type.

7.2.2 ACT AS ALPHA

TriCaster optionally allows one or more neighboring pairs of video inputs to be combined as a single video + alpha channel (sometimes also referred to as fill and matte). The ability to configure one input as the alpha channel source for another is absolutely invaluable for installations employing video feeds from high end external CG and chromakeying systems (such as Chyron and Ultimatte).

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Figure 126
To use this feature, select Act as Alpha Channel for Input (#) as the Connection Type in the Input Configuration panel for an even-numbered input. Note: The input configuration (video format and connection type) for the alpha input is automatically configured to match the fill source it is paired with.

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7.2.3 PROC AMP

Figure 127

The main portion of the Input Settings tab contains Proc Amp settings. These settings are identical to those discussed in Section 7.1.2. Of course, Proc Amp settings are applied to the individual video inputs, thus before output Proc Amp settings (which affect all sources equally). When the Proc Amp is enabled for a specific source, a small yellow indicator is displayed in the upper-right corner, just above the corresponding monitor in any of the three main monitor tabs. Input Proc Amp adjustments are applied after LiveMatte is processed, which can help when composing greenscreen shots to match a background or LiveSet. You may also notice that changes to Proc Amp settings do affect stopped (or frozen) sources, including live camera feeds.
7.2.4 LIVEMATTE & CROP
The second tab in the Input Configuration panels is where you configure TriCasters powerful realtime keying system for live production, LiveMatte. Keying is a popular and powerful method of combining two images whether photos, video clips or live camera streams. The process involves eliminating a portion of the image (effectively cutting a digital keyhole in it) to reveal a user-defined background scene. It also plays an important role in the workflow of LiveSet, TriCasters powerful virtual set technology.

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Figure 128
LiveMattes controls are deceptively simple, making a great deal of complex digital manipulations easy to use. Even so, much can be said about getting the best results. For that reason weve devoted a whole chapter in this manual to discussing it (and Crop - please see Chapter 11). When LiveMatte is enabled for a specific source, a small green indicator is displayed in the upper-right corner above the corresponding monitor in any of the three main monitor tabs. Similarly, Crop shows a blue indicator. These lights are actually interactive toggle switches.

10.3.2 NETWORK SHARING

Another very useful advantage of this system is that, if you wish, you can share the Frame Buffer folder and its content across a network.

Figure 164

Share Frame Buffer on Network is easily enabled or disabled even during a live production using the Live Desktop Options menu at the right-hand end of the Switcher (beneath the local Transition controls). Page | 175
Hint: Frame buffer files are stored using the popular 32 bit PNG (Portable network Graphics) image format. The specific file associated with any Frame Buffer is easily identified by its unique name overlay_1.png, virtual_input_1.png, etc This allows Frame Buffer files to be individually updated across a network using any suitable graphics application or method. When you save the edited image, the remote copy (on the TriCaster) is immediately updated even if it is currently displayed live. This allows you to refresh an overlay virtually instantly using your graphics software of choice from any computer with a network connection. TriCaster automatically presents the current sessions Frame Buffer folder using the network share name Frame Buffer. Note: This special share name assignment is dynamic. It is automatically updated whenever you enter a session with network sharing enabled, to ensure that applications on the remote system can access and update Frame Buffer graphics for the current (or most recent) TriCaster session.

10.4 EDITING TITLE PAGES

On mouse-over, title page icons display a configuration (gear) icon in their lower-right corner. Clicking this button (or selecting Edit Title in the icon context menu) opens the pop-up Title Page Editor. Title Page content can be edited during both play and display (changes are detected and shown immediately). Opening the pop-up Title Page Editor during playback is permitted. The panel can be re-sized by dragging its lower-right corner, and re-positioned by dragging its titlebar. When you move the mouse over text in the Title Page Editors preview pane, a white boundingbox appears. If you click once inside the box it turns yellow, indicating the text object is selected. If you begin editing the text by pressing a character on your keyboard, a text edit field opens (alternatively, double-click to open the text entry field). Press Enter or click outside the box to complete the operation.

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Figure 165
A number of keystroke shortcuts are available to help you edit text quickly. Typing keystrokes as listed below will produce the result shown: Any character(s) text input box opens with the current string cleared and (only) the new character(s) entered. Home text input box opens with cursor before the first character of the current string. End text input box opens with cursor after the last character of the current string. Delete text input box opens empty (the original string is cleared). Spacebar text input box opens with original text string deleted and a space character inserted in its place. Up or Left Arrow key text input box opens with the cursor between the last two characters of the current string. Down or Right Arrow key text input box opens with cursor at the end of the string. Backspace text input box opens with the last character of the string deleted and the cursor at the (new) end of the string. Tab advance to next entry field (Shift + Tab to prior field). Page | 177

13.2 INTERNAL AUDIO

Besides external audio sources, sounds played from TriCasters internal storage volumes (including removable media such as external hard drives or thumb drives) via the content players (DDR, etc.) can be added to the output mix. Separate sub-panels are provided to control audio added to TriCasters Program output mix by the DDR and Sound media players.

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Figure 195

13.2.1 MEDIA PLAYERS

Video and audio-only files in DDR 1 and 2 playlists, along with audio files in the Sounds player, may contain one or more audio channels. At most, Media Players output the first four audio channels of multiple channels additional embedded streams are ignored. The options and controls in these sub-panels are similar to those in the input control panels, with the obvious exception that a Connection Type menu is unnecessary.

13.2.2 OUTPUT CONTROLS

Each of the audio sources discussed earlier provides its own contribution to TriCasters audio output mix. Settings in the output control panels in the Internal Audio tab take effect downstream from all sources, further governing audio levels sent to two different sets of output connectors plus headphones, and when in use the Internet stream.

MASTER (AND PHONES)

The main Program outputs (labeled PGM on TriCasters backplate) are controlled by the Gain knob and Balance control in the Master sub-panel, located at far-right in the Audio tab. Just above this is a simple level control for the Phones output.

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Remember that both Aux and Phones outputs are affected by source Solo switches. When Solo is on for one or more sources, only those sources will be sent to Aux and Phones. Hint: Shift + double click Gain knobs to restore their default values (0dB).

Figure 196

AUX AND STREAM
The Stream sub-panel provides a method of independently adjusting (stereo) audio levels sent to the network when streaming is enabled. Aux Output, as you might expect, controls audio sent to the four AUX output connectors. An important addition to its control group is the Source drop-down menu. This allows you to decide to supply sound to the AUX outputs exclusively from one of the following selections: DDR 1 - The meters show the levels for audio (the first 4 channels) from DDR 1 output, which are individually sent to AUX output connectors (2a-2d).

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Also consider the expected download abilities of your viewers. Ideally, a safety margin 1.5 times the streams bitrate is desirable. This may mean you need to consider using a lower resolution, or lower framerate for your stream but doing so when required will generally deliver a smooth result, and is the wise course. (Nothing inclines viewers to turn away quicker than a stuttering, start and stop stream. See Speed Tests in Section 15.4.1 for some useful resources.)
15.2.2 STREAMING PROTOCOLS
Additionally, there are two primary streaming methods, known as Pull and Push. Choosing the best method for your needs is important. Lets review each, and consider what is best for your needs.

PULL BY END USERS

Simply put, the Windows Media Encoder in TriCaster allows your (networked) audience to connect directly to it, and it distributes the stream to them. Connecting in this manner requires you to have a connection with sufficient bandwidth to deliver a stream to each individual user. For this reason, the simple Pull streaming method rarely works well for more than 1 or 2 viewers. Advantages: o When TriCaster is not behind a firewall or does not have a public IP address, this is a very simple way to let a few viewers watch your program stream.
Disadvantages: o Requires either a public IP address or requires users to be on the same network. Facilities such as hotels or convention centers will usually not provide a public IP address. Even if they do, getting them to open holes in their firewall is next to impossible. If TriCaster is behind a router, your router must be configured to port forward.

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Requires significant bandwidth -- for example, with TriCaster connected to the Internet by a DSL or Cable Modem line, upload bandwidth is often less than 400kbits/second. Allowing for network overhead, at best a 320kbit steam can be accommodated. This bandwidth would be fully consumed by two viewers watching 160kbit streams, or a single viewer pulling a 170-320kbit stream. (Even a T1 digital line can only handle four simultaneous 300kbit streams).
A variation on the Pull method involves using an external streaming provider. At one time the only method for streaming using such a provider was to have the server pull it from the encoder. Under this system the server did not receive the stream until the first user requested it. Then the server would connect to the encoder, pull the stream to it, and finally begin re-distributing it to everyone requesting it. This method worked passably until firewalls became more common. Advantages: o Pull doesnt waste bandwidth; no signal is being sent out to the server unless somebody wants to view it. If you lose your connection to the (provider side) server, the server will reconnect to your encoder automatically when Internet connection resumes. Providers typically have significant bandwidth, and are able to meet necessary requirements to deliver stutter-free, high quality streams to large numbers of viewers.

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bandwidth is really only used for uploading a single stream, you can send a high quality stream, secure in the knowledge that it will not degrade as soon as a second viewer attempts to see it. Hint: A helpful way to find a good streaming service provider is to ask other TriCaster users for recommendations in NewTeks online discussion forums.

15.2.4 OTHER RESOURCES

If youre still struggling with the differences between Push and Pull streaming methods, you can find lots of online resources (in addition to excellent information available in NewTeks user forums!) The popular web resource Wikipedia hosts many articles on the subject, notably these two:
http://en.wikipedia.org/wiki/Push_technology http://en.wikipedia.org/wiki/Pull_technology
Microsoft even hosts an animation on the subject at:
www.microsoft.com/windows/windowsmedia/knowledgecenter/wminaction/streaming_pushpull.asx
(Ignore the detailed discussion of configuring the encoder, and just enjoy the pretty pictures your TriCaster makes that part easy for you!)
15.3 PRODUCTION AND CAPTURE CONSIDERATIONS
If youre not intent on live streaming, but wish to capture a live switching session, you would likely record at full resolution using the Record button (rather than Stream). The high quality captured files can then be used later in TriCasters DDR, edited in SpeedEDIT, or even be transferred to another computer (even on a different platform) for external processing or editing. Hint: use an external hard drive to transfer the files between systems, or simply transfer them across a local network.

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You can always convert these files to a streaming file format if you later decide youd like to supply them for on demand Internet viewing. This lets you retain best quality right through to final output. When you eventually encode for streaming, you can choose settings that best suit the intended audience and streaming environment. At the very least, if (perhaps to save conversion time) you capture video for web distribution, its best to capture it at least at the size that you intend for final output, to ensure satisfactory video quality for your viewers. When video is compressed (as it invariably is for web viewing) you can lose important detail; compressing a full-screen video down to a quarter or a sixteenth of its size is a lesson in humility!

A.3.13 PREPARE A MATCHED GROUP OF VIRTUAL INPUTS?
Suppose you want to assign matching shots from one theme group of LiveSets to different Virtual Inputs (or Presets). You might, for example, want everything to be the same except that one shot is centered on a virtual monitor in the LiveSet, while another is centered on the set itself. 1. Prepare the first Virtual Input click its tab, and use the controls to select a LiveSet, assign and position an Overlay source, even click a Zoom Preset to be the default. Right-click on the Preset icon in the bin at left, and select Export. Supply a filename for the Preset. Click the second Virtual Input tab. Right-click on a blank Preset, and select Import from the menu. Select the file you exported above, and click Open. The second Virtual Input will adopt the exact same settings as the first. Now all you need to do is replace the currently assigned LiveSet with a matching one by clicking Add at upper-right in the tab, choosing the LiveSet you want, and clicking OK.

2. 3. 4. 5. 6.

A.3.14 IMPROVE THE QUALITY OF MULTIVIEW OUTPUT?
TriCasters Multiview video output is very high quality, but it is possible for you to manually choose certain settings that will have a negative effect on it. Avoiding these mistakes will ensure the best possible result.

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Specifically, disabling Windows Aero may cause video tearing. Also, for best quality, be sure that the VGA Output Resolution you choose corresponds to that of the monitor connected (see Section 7.1.5). NOTE: Changing Output Resolution can cause frames to be dropped briefly. Thus we do not recommend changing this setting during live production.
A.3.15 VIEW MEDIA PLAYER TIME DATA ON MULTIVIEW OUT WHEN SET TO ALL SOURCES?
Space limitations prevent TriCaster from displaying timecode fields beneath monitors on Multiview output when VGA Output Resolution is set to 720x480.
A.4 FILES A.4.1 MANAGE FILES?
Please refer to the item (How do I) Manage Selected Content inside a Session? (Section A.2.7).
A.4.2 CHANGE THE RECORDING QUALITY?
TriCaster has two optional quality settings for recording live video, Normal Profile (Compatibility Mode) and High Profile. Both of these alternatives record I-frame only MPEG2 files at a rate of approximately 100mbps for HD video (or half that for SD sessions). The Normal setting produces a standard profile MPEG2 with 4:2:0 encoding, and has best compatibility with third-party products. High quality files comply with the MPEG2 high profile standard, resulting in 4:2:2 encoding at the expense of slightly less cross-product compatibility. To change the setting: 1. Open a TriCaster session.