Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Screw
WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A
PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.
If you are not sure that your outlet box is properly grounded, have it checked by a qualified electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong
receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which
will accept the MOTU V4HD plug.
IMPORTANT SAFEGUARDS
1. Read these instructions. All the safety and operating instructions should be read before operating the V4HD.
2. Keep these instructions.These safety instructions and the V4HD owners manual should be retained for future reference.
3. Heed all warnings. All warnings on the V4HD and in the owners manual should be adhered to.
4. Follow all Instructions. All operating and use instructions should be followed.
5. Do not use the V4HD near water.
6. Cleaning - Unplug the V4HD from the computer and clean only with a dry cloth. Do not use liquid or aerosol cleaners.
7. Ventilation - Do not block any ventilation openings. Install in accordance with the manufacturers instructions.
8. Heat - Do not install the V4HD near any heat sources such as radiators, heat registers, stoves, or another apparatus (including an amplifier) that produces heat.
9. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
10. Grounding - Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong.The wide blade
or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult and electrician for replacement of the obsolete outlet.
11. Power cord - Protect the V4HD power cord from being walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the V4HD.
12. Power switch - Install the V4HD so that the power switch can be accessed and operated at all times.
13. Disconnect - The main plug is considered to be the disconnect device for the V4HD and shall remain readily operable.
14. Accessories - Only use attachments/accessories specified by the manufacturer.
15. Placement - Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the V4HD.When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
16. Surge protection - Unplug the V4HD during lightning storms or when unused for long periods of time.
17. Servicing - Refer all servicing to qualified service personnel. Servicing is required when the V4HD has been damaged in any way, such as when a power-supply cord or plug is damaged, liquid has been spilled or objects have fallen
into the V4HD, the V4HD has been exposed to rain or moisture, does not operate normally, or has been dropped.
18. Power Sources - Refer to the manufacturers operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.
19. Installation - Do not install the V4HD in an unventilated rack, or directly above heat-producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed below.
20. Power amplifiers- Never attach audio power amplifier outputs directly to any of the units connectors.
21. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions
may result in fire, electric shock or other hazards.
22. Safety Check - Upon completion of any service or repairs to this MOTU V4HD, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT
Operating Temperature: 10C to 40C (50F to 104)
AC INPUT
100 - 240VAC ~ 50 / 60Hz 45 Watts.
Contents
Part 1: Getting Started
37 V4HD Basics
41 MOTU Video Setup
57 Final Cut Pro
93 Standalone Operation
95 Front Panel LCD Programming
Part 5: Appendices
105 Troubleshooting
107 Video Formats
109 V4HD Specifications
111 DB25 to XLR Pin Outs
113 Index
III
About the Mark of the Unicorn License Agreement and Limited Warranty on Hardware
Limited Warranty on Software Mark of the Unicorn, Inc. and S&S Research (MOTU/S&S) warrant this equipment
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the against defects in materials and workmanship for a period of TWO (2) YEARS from
terms and conditions of the click-wrap license agreement presented to you when the date of original retail purchase. This warranty applies only to hardware products;
you install the software. Using the software or this documentation indicates your MOTU software is licensed and warranted pursuant to separate written statements.
acceptance of the terms and conditions of that license agreement. If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
Mark of the Unicorn, Inc. (MOTU) owns both this program and its documentation. obtain a Return Merchandise Authorization Number. No service will be performed on
Both the program and the documentation are protected under applicable copyright, any product returned without prior authorization. MOTU will, at its option, repair or
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documentation are limited to the terms and conditions described in the license period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280
agreement. Massachusetts Avenue, MA 02138.You must use the products original packing
material for in shipment, and insure the shipment for the value of the product. Please
Reminder of the terms of your license include your name, address, telephone number, a description of the problem, and
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That license agreement is a contract, and clicking Accept binds you and MOTU to
This warranty does not apply if the equipment has been damaged by accident,
all its terms and conditions. In the event anything contained in this summary is
abuse, misuse, or misapplication; has been modified without the written permission
incomplete or in conflict with the actual click-wrap license agreement, the terms of the
of MOTU, or if the product serial number has been removed or defaced.
click-wrap agreement prevail.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
the program from one computer to another provided that the program is used on only
LIMITED IN DURATION TO TWO (2) YEARS FROM THE DATE OF THE
one computer at a time and that you remove any copies of the program from the
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
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program solely for backup purposes.You must reproduce and include the copyright THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE
notice on a label on any backup copy. AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED.
No MOTU/S&S dealer, agent, or employee is authorized to make any modification,
YOU MAY NOT: (a) distribute copies of the program or the documentation to others;
extension, or addition to this warranty.
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adapt, reverse engineer, decompile, disassemble, or otherwise alter the program or WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
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AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
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REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
recorded be free from defects in materials and workmanship under normal use for a
MOTU/S&S PRODUCTS.
period of ninety (90) days from the date of purchase as evidenced by a copy of your
receipt. If failure of the disk has resulted from accident, abuse or misapplication of the Some states do not allow the exclusion or limitation of implied warranties or liability for
product, then MOTU shall have no responsibility to replace the disk(s) under this incidental or consequential damages, so the above limitation or exclusion may not
Limited Warranty. apply to you. This warranty gives you specific legal rights, and you may have other
rights which vary from state to state.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH MOTU, Mark of the Unicorn and the unicorn silhouette logo are trademarks of Mark
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES of the Unicorn, Inc. Apple, the Apple Logo and Final Cut Pro are registered
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE trademarks of Apple, Inc. All other trademarks are the property of their respective
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE owners.
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU OR ITS SUPPLIERS, LICENSORS, OR AFFILIATES BE
LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING This equipment has been type tested and found to comply with the limits for a Class A digital device,
BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF may cause harmful interference to radio communications or television reception. However, there is no
guarantee that interference will not occur in a particular installation. If this equipment does cause
SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS interference to radio or television equipment reception, which can be determined by turning the
WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW equipment off and on, the user is encouraged to try to correct the interference by any combination of the
THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL following measures:
DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. Relocate or re-orient the receiving antenna
Increase the separation between the equipment and the receiver
Update Policy Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
In order to be eligible to obtain updates of the program, you must complete and return If necessary, consult a dealer or experienced radio/television technician for additional assistance.
the attached Mark of the Unicorn Purchaser Registration Card to MOTU. PLEASE NOTE: only equipment certified to comply with Class A (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
Copyright Notice cables in order to comply with the Class A FCC limits on RF emissions.
Copyright 2008, 2007 by Mark of the Unicorn, Inc. All rights reserved. No part of WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
this publication may be reproduced, transmitted, transcribed, stored in a retrieval
system, or translated into any human or computer language, in any form or by any
means whatsoever, without express written permission of Mark of the Unicorn, Inc.,
1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Part 1
Getting Started
Quick Reference: V4HD Front Panel
1 2 3 4 5
6 7 8 9 10 11 12 13
1. These 10-segment level meters are dedicated to the 5. The CLOCK LEDs indicate the global audio sample rate at 8. The V4HD LCD provides direct access to most of its 12. The PHONES knob is a rotary encoder that can be pushed
V4HDs eight analog audio inputs. The top red over LED which the V4HD is operating. Use the MOTU Audio Setup settings. Repeatedly press the MENU button (9) to cycle as well as turned:
illuminates when the signal reaches full scalefor even software to set the sample rate or to choose an external through the main menus, and then use the PAGE and
just one sample. The second over LED below only illumi- clock source, from which the sample rate will be set. CURSOR buttons, along with the VALUE/ENTER knob, to Turn it to adjust headphone volume. The LCD provides
nates momentarily so that you can continue to adjust When no sample clock is currently present, these lights choose and make settings. For complete details, see temporary feedback for the headphone level as you
level even after clipping has just occurred. flash. For example, if youve set the V4HD to slave to an Multi-Function LCD display on page 97. turn the knob.
external clock, such as AES/EBU, but there is no clock
2. The light that is illuminated here tells you which signal currently being detected, these lights will flash. 9. Repeatedly press the MENU button to cycle through the Push in the knob (so that it clicks) and then turn it to
8-channel audio bank (analog, AES/EBU, optical or The Time Code Lock LED illuminates when the V4HD is main menus in the programmable LCD. Repeatedly press adjust the volume of the analog outputs 1-2. Again,
embedded) you are monitoring with the programmable converting time code. the STATUS button to cycle through the various video the LCD provides temporary feedback as you turn. By
meter bank to the right. You can monitor input or output status modes in the VIDEO STATUS section. default, the knob controls analog outputs 1-2, but you
for any bank. Use the LCD or software to choose the 6. The Time Code Display rolls whenever the V4HD is can program the knob (via the LCD) to control any
desired bank. converting time code, either from the time code input or 10. Use these buttons and knob to navigate the settings in combination of the V4HDs 32 outputs.
perhaps from SDI-embedded time code. It also rolls the programmable LCD. For complete details, see Multi-
3. This bank of level meters can be programmed (via the during playback from host software (Final Cut Pro) and Function LCD display on page 97. 13. FireWire is a plug-and-play protocol. That means that
LCD or software) to display one of four different banks: reflects the position of the play head on the time line. you can turn off the V4HD and turn it back on (or even
analog, AES/EBU, optical or embedded. The LEDs to the 11. This is a standard quarter-inch stereo headphone jack. unplug it) without restarting your computer. Keep in
left show which bank you are currently monitoring. 7. The VIDEO STATUS section provides quick feedback From the factory, its output matches analog outputs 1-2 mind, however, that if you wish to change the V4HDs
regarding the V4HDs current video operation. Repeat- on the rear panel. But it can be programmed to mirror settings with the console software, the V4HD needs to be
4. Internally, the V4HD is divided into four 8-channel banks edly press the STATUS button (9) to cycle through the any other output pair. Use the volume knob above to plugged in and switched on.
of audio I/O: analog, AES/EBU, optical and embedded various modes. See Video Status on page 96 for control its level.
(SDI or HDMI). This section shows input and output details.
activity for the three digital banks. The SRC light
indicates that sample rate conversion is being applied to
an input or output bank.
Quick Reference: V4HD Rear Panel
1 2 3 4 5 6
14 13 12 11 10 9 8 7
1. The analog video I/O section of the V4HD is equipped 5. If you only need 2 or 4 channels of AES/EBU digital audio over HDMI, so you could also connect this 11. For 9-pin machine control over an RS-422 equipped
with 12-bit converters that deliver 10-bit capture and audio I/O, connect them to these XLR jacks. If you output to an HDMI-equipped home theater receiver to device, such as a VTR or camera, connect it here. This
playback, with support for both RGB or YPbPr color need 8 channels, connect a breakout cable to the deliver both picture and multi-channel audio. allows you to control the transport of the device from
space. Once youve connected your SD and HD video DB25 connector below. Final Cut Pro and use features such as Batch Capture
device(s) to the appropriate jacks, you can choose any 9. The two ADAT optical (lightpipe) ports labeled IN/ and Edit to Tape.
input (analog or digital) as a source (from the LCD or 6. If you only need 1 to 4 channels of analog audio input OUT provide 8 channels of digital audio input and
software console) and the V4HD converts to all SD and and output, connect them to these 4 XLR input and output at 44.1 and 48 kHz. At the 2x sample rates 12. In the event that a firmware update becomes avail-
HD output formats simultaneously, including the output jacks. If you need 8 channels, connect a break- (88.2 or 96 kHz), they provide channels 1-4 (in and able for the V4HD, you would connect this USB port to
digital outputs discussed below. out cable to the DB25 connectors below. These analog out) and the second set (labeled in blue) provides your computer and then use software to download
inputs and outputs are equipped with 24-bit convert- channels 5-8 (in and out).When operating the optical the new firmware into the V4HD hardware.
2. The V4HD is packed full of state-of-the-art technology ers that support sample rates from 44.1 kHz up to ports at a 2x sample rate, be sure to choose either Type
mounted on no less than six separate circuit boards. It 192kHz. I or Type II operation, as explained in ADAT Type on 13. Make audio WORD CLOCK connections here. The V4HD
gets hot in there. Be sure to leave plenty of room for page 99. supports word clock sample rates up to 192kHz. If you
the fan to move air through the V4HD enclosure.Try to 7. If you need more than 4 channels of AES/EBU input/ need to daisy chain another word clock-equipped
avoid placing the V4HD above other heat sources. output and/or analog input/output, connect an 10. Connect the V4HD to the computer here using any device from the V4HD, connect it to the middle BNC
8-channel DB25 to XLR breakout cable to these DB25 standard FireWire A (1394a) or FireWire B (1394b) connector and flip the THRU/OUT switch to THRU.
3. Connect time code input and output here, to the LTC IN connectors. When you do so, the rear panel XLR jacks cable. If you plan to use Apple ProRes 422 HQ (High
and LTC OUT. The V4HD supports all standard time become disabled. In other words, you can use either Quality) as your HD codec of choice in Final Cut, you 14. The V4HD has an internal, international, auto-switch-
code formats. the XLRs or the breakout, but not both at the same must use FireWire B. If you plan to use DVCProHD, or if ing power supply. Connect any AC power source from
time (8 channels maximum for each bank). you are working in SD (any supported format), you 100V to 240V.
4. Connect blackburst or another video reference to the can use either FireWire A or B: it doesnt matter. You
VIDEO REF IN. If the V4HD is at the end of the video 8. Connect a plasma, LCD, DLP or other HDMI-equipped can use the two FireWire B ports to daisy-chain the
sync daisy chain, flip the THRU/TERM switch to the monitor here. Alternately, you can connect a DVI- V4HD and other FireWire 800 devices to the computer,
75 TERM position. If you are daisy-chaining another equipped device with an adapter cable. The V4HD with the computer serving as the Firewire host. But be
device, flip it to THRU. This jack also supports supports 8-channel PCM (uncompressed) embedded careful not to overload the FireWire bus with too much
HD Tri-level sync. I/O bandwidth.
Quick Reference: MOTU Video Setup
CHAPTER
This is the video source menu. The V4HD has two video modes: This column shows the various HD
In Capture/Convert mode, use this menu to choose the source video input on and SD destinations, including HD
the V4HDs rear panel. This is the input that the V4HD routes to all outputs and SD outputs on the V4HD itself,
and the computer. In Playback mode, the Signal Path Diagram displays the the HDMI output (which can alter-
playback signal path (from the computer to the V4HD outputs). nately be used for DVI output), and
FireWire Capture (in Final Cut Pro).
Indicates when the V4HD has This area of MOTU Video Console provides a signal path
successfully achieved lockup to diagram (from left to right) for Playback mode or
the currently selected input or, Capture/Convert mode. The upper path shows HD output and
in Playback mode, clock source, the lower path shows SD output. As indicated by arrows, some
which could be the V4HDs inter- items are menus from which you can choose settings.
nal clock or the video REF IN jack.
Click a tab to view its settings to the right. The Click a tab on the left to
SETUP tab has global settings, such as the view its settings here.
Playback Only mode button. For complete
details on the settings in these tabs, see
chapter 6,MOTU Video Setup (page 41).
9
10
Quick Reference: MOTU Audio Setup
CHAPTER
MOTU Audio Setup appears in the dock when you launch it. If the Launch MOTU Audio Setup when hardware becomes
available option is checked (as shown above), the icon appears as soon as you switch on your V4HD interface. If you click
and hold on the dock icon (instead of clicking it) or control-click, you can directly access settings, as shown to the left.
11
12
CHAPTER 1 About the V4HD
As a video interface, the V4HD connects directly to When the V4HD is not connected to a computer
a computer via a standard FireWire cable and turns via FireWire, it operates as stand-alone video
a Mac desktop or laptop computer into a powerful converter/distribution hub, or as a stand-alone
HD/SD video production workstation equipped audio mixer.
with all the video and audio I/O needed to produce
broadcast quality HD and SD video material. A wide range of video equipment can be connected
to the V4HD, from legacy SD camcorders and CRT
In Final Cut Pro, the V4HD supports full-raster monitors to the latest HD cameras, video decks,
1920 x 1080 HD capture and playback using LCD reference monitors and plasmas all at the
Apples ProRes 422 codec in both standard and HQ same time, with no cable swapping.
modes. The V4HD is the ideal all-in-one video
capture solution for any ProRes workflow. In all modes, the V4HD dynamically converts the
currently chosen input source to all outputs simul-
TheV4HD also provides hardware-accelerated taneously. This allows you to connect all of your
capture and playback of DVCProHD, DVCPro50 HD and SD gear, choose any source from your
and DVCPro25 video streams, plus 8- and 10-bit computer desktop and then monitor the source
uncompressed SD all with convenient plug- material in multiple formats simultaneously as you
and-play FireWire connectivity and CPU-efficient convert and capture. You can even monitor
intra-frame editing. material in both HD and SD simultaneously with
hardware-accelerated up/down conversion with
The V4HD is ideal for a DVCProHD/P2 workflow pull-down insertion or removal.
because you can immediately play back P2 clips
(either imported or ingested) with no transcoding The V4HD provides advanced synchronization
necessary. Conversely, you can connect any SD or and machine control features, including support
HD video source such as an HDV camera, legacy for time code, 9-pin machine control, video
video deck or DVD player and then capture it reference and audio word clock. For audio
directly as a DVCProHD clip in Final Cut. Many synchronization, the V4HD employs Direct Digital
cameras now feed their uncompressed SDI or Synthesis (DDS), a DSP-driven phase lock engine
component output directly from the cameras that delivers fast lockup times and sub-frame
optics and image sensor, before compression, for accuracy.
the best-possible picture quality during capture
with the V4HD.
13
The V4HD is housed in a rugged aluminum alloy HDMI monitoring connect a large-format
chassis with a standard 19-inch, two-space, rack- HD plasma, reference LCD, consumer DLP or
mountable form factor. Included rack mounting other flatscreen for flexible and affordable pixel for
brackets can easily be removed for convenient pixel HD monitoring.
desktop operation.
Broadcast quality hardware-based real time
The V4HD is designed to streamline your video SD-to-HD up-convert capture SD while
production workflow, with unified control over all working in HD; monitor HD when working in SD.
your video gear from the convenience of your Broadcast quality hardware-based real time
computer desktop. HD-to-SD down-convert capture HD while
working in SD; monitor SD when working in HD.
FEATURE HIGHLIGHTS
HD/SD FireWire video interface provides Hardware-accelerated 2:3 or 2:3:3:2 pull-down
HD and SD capture and playback for any current- insertion and removal go between film and
generation FireWire equipped computer. NTSC rates in real time, with no rendering
required.
Plug-and-play connectivity via FireWire 400 or
14
ABOUT THE V4HD
1 x HDMI output (4:2:2 10-bit, YCbCr or RGB) 4 x XLR analog in/out 4-channel direct
rates up to 96kHz
1 x HD component in and out (10-bit, YPbPr or
15
ABOUT THE V4HD
Audio delay compensation both fully 8 dedicated 10-segment ladder LEDs with clip
automated and programmable controls ensure that indicators for all 8 analog audio ins
audio always remains perfectly in sync with picture
8 programmable 10-segment ladder LEDs with
Audio only mode operates as a 24 channel clip indicators for displaying any 8-channel bank
cross-platform audio interface (analog, AES/EBU, optical or embedded) in or out
Stand-alone operation mix and monitor with Video status LEDs quick access to capture/
supply
RS-422 machine control control the
16
ABOUT THE V4HD
CHAPTER 2 Packing List and Mac System
Requirements
PACKING LIST PLEASE REGISTER TODAY!
The V4HD ships with the items listed below. If any Please register your V4HD today. There are two
of these items are not present in your V4HD box ways to register.
when you first open it, please immediately contact
Visit www.motu.com/registration to register
your dealer or MOTU.
online
One V4HD with removable rack ears
OR
One FireWire 400 cable
Fill out and mail the included product
One FireWire 800 cable registration card
One power cord As a registered user, you will be eligible to receive
One V4HD Mac/Windows manual technical support and announcements about
product enhancements as soon as they become
One software installer CD available. Only registered users receive these
Product registration card special update notices, so please register today.
MAC SYSTEM REQUIREMENTS Thank you for taking the time to register your new
The V4HD system requires the following Mac MOTU products!
system:
is recommended)
Mac OS X (version 10.4.9 or later)
A large hard drive (preferably at least 500 GB)
17
18
PACKING LIST AND MAC SYSTEM REQUIREMENTS
CHAPTER 3 Installing the V4HD Hardware
19
case, all ports (both A and B) share the same CONNECT THE V4HD TO YOUR COMPUTER
internal FireWire bus. So plan accordingly for your 1 Plug one end of the V4HD FireWire cable into
FireWire resources. In addition, keep in mind that the FireWire socket on the computer as shown
if you connect a FireWire A device, it can slow the below in Figure 3-1. If you plan to use Apples
entire bus to whenever the device is active on the ProRes HQ (High Quality) codec with Final Cut
bus, so any connected FireWire B devices may not Pro, you must use the FireWire B connection.
be able to operate at their full performance levels at
all times. (If the FireWire A device is not active, 2 Plug the other end of the FireWire cable into the
however, it wont affect the bus.) V4HD I/O as shown below in Figure 3-1.
20
INSTALLING THE V4HD HARDWARE
CONNECT VIDEO INPUTS AND OUTPUTS S-video (Y/C)
The V4HD provides a wealth of video input and Connect any S-video source or destination,
output connectivity, from consumer analog including consumer or prosumer camcorders,
formats such as S-video and composite to desktop video converters, VTRs, or monitors. For
broadcast formats such as HD-SDI. Internally, the best results, use standard, high-quality shielded
V4HD has been designed to support all video 4-pin mini-DIN S-video cables. You can connect
input and output simultaneously, allowing you to the same device to both the input and output, or
choose any input as the current source signal while you can connect two separate devices (one to the
the V4HD simultaneously converts that signal to input and the other to the output).
all output formats, including real-time encoding
for transfer over FireWire to the computer for Composite
capture in Final Cut Pro. Connect any composite source or destination,
including consumer or prosumer camcorders,
Keep this in mind as you make your video desktop video converters, VTRs, or monitors. For
connections. For example, you can connect both best results, use standard, high-quality shielded
SD and HD gear to their respective inputs and video RCA cables. You can connect the same device
outputs during installation, and simply choose to both the input and output, or you can connect
among them from your computer desktop during two separate devices (one to the input and the
routine operation. In the case of the SD- and other to the output).
HD-SDI connectors, two outputs are provided,
allowing you to connect four SDI destinations (two Component
The component video section provides
SD and two HD) that share the same output signal.
simultaneous connection to both HD and SD
Support for both NTSC and PAL component inputs and outputs. The V4HD
The V4HD supports both NTSC and PAL formats provides 10-bit analog performance with 12-bit
on all inputs and outputs. It does not, however, A/D and D/A converters. In general, component
convert between NTSC and PAL. Instead, it video signals tend to be higher quality than
operates all inputs and outputs in one format or the composite or S-video, so to take full advantage of
other, as determined by the chosen video source. the component format, be sure to use high quality
For details about choosing a video source, see shielded BNC cables.
Video Source menu on page 44.
21
INSTALLING THE V4HD HARDWARE
YPbPr or RGB Component Analog Format on page 49 and 480i
The V4HD SD and HD component input and Setup on page 50. For PAL (576i) and HD
output sections support YPbPr or RGB operation, component operation, the V4HD supports the
as shown by the color legend on the rear panel. industry standard SMPTE/EBU N10 specification.
Pr/R Y/G Pb/B Pr/R Y/G Pb/B Legend HD-SDI and SD-SDI
The V4HD provides HD-SDI input and output,
together with independent SD-SDI input and
output, in professional, broadcast quality 10-bit
4:2:2 resolution. For both HD- and SD-SDI, a
second output is provided, allowing you to connect
a second SDI output device. For example, you
could connect an HD monitor, HD video deck, SD
monitor and SD video deck, all at the same time,
via the four SDI outputs.
Figure 3-3: The V4HD supports both RGB and YPbPr component For best results, be sure to use cables that are
video.
designed for SDI use (such as Belden part number
Each of the four banks (SD in, SD out, HD in and 8281, or similar). The V4HD has been designed to
HD out) can be independently configured for support SDI cable lengths up 500 feet with SDI
either RGB or YPbPr operation. This setting is rated cables.
made in the MOTU Video Setup software. For the
component inputs, see Video Source menu on HDMI / DVI Output
page 44. For the component outputs, see SD The V4HD provides an HDMI output, which lets
Component Output Color Mode on page 51 and you connect any device equipped with an HDMI
HD Component Output Color Mode on page 51. input. This connector is ideal for connecting a
Be sure that the mode you choose for each bank plasma screen, LCD screen or even a home theater
matches the component video source or receiver. The V4HD supports up to 8 channels of
destination to which it is connected. If the device PCM (uncompressed) audio output via the HDMI
you are connecting supports both RGB and YPbPr, connection for devices that can receive digital
use YPbPr, as it is the standard for broadcast video. audio via HDMI.
It is also the native color space for DVCPro
DVI Output
compression.
Using a HDMI-to-DVI cable, or a female HDMI-
to-male DVI plug adaptor connected to one end of
Analog YPbPr component video is sometimes
an HDMI-to-HDMI cable, you can connect the
referred to by other names, such as YUV,
V4HDs HDMI output to the DVI input of another
Y/R-Y/B-Y or YCbCr.
device, such as a computer monitor. In addition to
SD (480i) component formats the cable connection, you also need to make a
The V4HD supports four different SD component software setting that changes the V4HDs HDMI
formats: SMPTE/EBU N10, Sony Beta, Sony Beta output signal to the DVI format. See HDMI/DVI
Japan and Panasonic MII. This setting is made in on page 46.
the MOTU Video Setup software. See 480i
22
INSTALLING THE V4HD HARDWARE
EXAMPLE V4HD VIDEO CONNECTIONS and match HD and SD sources and destinations,
Here is an example of the types of video devices connect them all, and then choose the desired
that you can connect to the V4HD. You can mix source from the MOTU Video Setup software.
SD TV (LCD or plasma)
HD computer monitor
SD TV (CRT)
SD Component IN
S-Video IN HD Component IN
HD camera HD VTR
SD camcorder
DVD Player
HD-SDI IN
S-Video OUT SD Component OUT HD Component OUT
SD broadcast monitor
HD reference monitor HDMI IN
SD-SDI SD-SDI HD-SDI OUT
OUT IN
SD broadcast VTR
HD camera
Large format
Figure 3-4: V4HD video connections. consumer plasma or LCD
monitor
23
INSTALLING THE V4HD HARDWARE
CONNECT AUDIO INPUTS AND OUTPUTS For eight channels of analog input, the breakout
The V4HD provides 32 channels of simultaneous cable requires a male DB25 connector on one end
audio input and output (Figure 3-5), grouped in and eight female XLR connectors on the other end.
four banks of eight channels each: analog,
AES/EBU, optical and embedded (for SDI and For eight channels of analog output, the breakout
HDMI out). For connecting the first three banks, cable requires a female DB25 connector on one end
see the following sections. For embedded, make and eight male XLR connectors on the other end.
the SDI and/or HDMI connections as described
earlier and then enable embedded audio. See SDI Female XLRs (for V4HD input) Male XLRs (for V4HD output)
Input and SDI/HDMI Output on page 75.
24
INSTALLING THE V4HD HARDWARE
AES/EBU digital audio I/O Synchronization and sample rate conversion
The V4HD provides eight channels of 24-bit When making AES/EBU digital audio transfers to
AES/EBU digital audio input and output at and from the V4HD, the two devices must be
standard sample rates from 44.1 kHz up to 96 kHz. synchronized with one another, or you must
employ the V4HDs sample rate conversion. See
4-channel vs. 8-channel operation Syncing digital audio devices on page 29.
As shown in Figure 3-5, the AES/EBU section
supplies four XLR connectors directly on the rear ADAT optical digital I/O
panel. These input and output jacks provide four The V4HD provides 8-channel ADAT optical
channels each of AES/EBU digital input and output digital input and output at 44.1, 48, 88.2 and 96
via direct connection to the V4HD rear panel using kHz. The V4HD rear panel provides two sets of
standard AES/EBU-grade cables. ADAT optical (lightpipe) connectors to support
8-channel operation even at the 2x sample rates
Similar to the analog section, as explained in (88.2 or 96 kHz).
8-channel operation on page 24, the V4HD
provides eight channels of AES/EBU input or Reminder: optical goes OUT to IN and IN to OUT.
output using a DB25-to-XLR breakout cable (sold Input and output are independent. For example,
separately). However, the requirements for this you could connect ADAT optical input from your
cable are different than those for the analog digital mixer and connect the output to another
section. The AES/EBU breakout cable supplies 8 optical-equipped device.
channels of AES/EBU input on four female XLR
connectors and 8 channels of AES/EBU output on Optical operation at 44.1 or 48 kHz
four male XLR connectors, as shown in Figure 3-7. When connected to an ADAT lightpipe
compatible device, the two optical connectors
marked IN and OUT provide eight channels of
digital input and output at 44.1 and 48 kHz.
25
INSTALLING THE V4HD HARDWARE
When operating the optical ports at a 2x sample EXAMPLE V4HD AUDIO CONNECTIONS
rate, be sure to choose either Type I or Type II Figure 3-8 shows an example of the types of audio
operation, as explained in ADAT Type on connections you can make between other devices
page 99. and the V4HD. You can mix and match analog and
digital sources and destinations, connect them all,
Synchronization and sample rate conversion and then mix them using the CueMix FX software.
When making optical digital audio transfers to and The 8-channel banks of optical and AES/EBU
from the V4HD, the two devices must be digital I/O are ideal for connection to a digital
synchronized with one another, or you must mixer.
employ the V4HDs sample rate conversion. See
Syncing digital audio devices on page 29.
Powered monitors
Camera
Digital mixer
VTR
26
INSTALLING THE V4HD HARDWARE
VIDEO SYNC CONNECTIONS AUDIO WORD CLOCK
Connect a video sync source, such as blackburst, to The V4HD word clock connectors (Figure 3-10)
the VIDEO REF IN jack (Figure 3-9). This input allow you to synchronize it with any other word
accepts either a Bi-level (SD) sync source or a clock-equipped device.
Tri-level (HD) sync source. The V4HD can resolve
to a VIDEO REF IN signal only when it is in
Playback mode. When it is in Capture or Convert
mode, it genlocks to the current video source. For
further information, see Playback Clock Source
on page 53.
27
INSTALLING THE V4HD HARDWARE
To resolve another device to the V4HD (even when Forcing a 1x word out rate
video is enabled), connect the V4HDs WORD When the V4HD is operating at a 2x or 4x sample
OUT jack to the word clock input on the other rate, it can generate a word clock output signal that
device (Figure 3-12). either matches the current system clock rate (any
rate between 88.2 and 192kHz) or the
Master V4HD corresponding 1x rate. For example, if the V4HD is
operating at 192kHz, you can choose to generate a
word out rate of 48kHz. For details on how to make
Word clock OUT
this word clock output setting, see Word Out on
page 77.
Word clock IN
RS-422 MACHINE CONTROL
Slave Other device If you have a VTR or other device equipped with
Sony 9-pin compatible machine control, and you
would like to control it using Final Cut Pros
Figure 3-12: Slaving another digital audio device to the V4HD via
word clock. For the V4HD clock source, choose Video Clock or, if the
machine control features, connect its RS-422 port
V4HD is in Audio Only mode, any other clock source besides word to the V4HDs RS-422 port (Figure 3-13). Also see
clock.
Device control on page 66.
Word clock out/thru
The V4HD provides a third word clock output that
can function either as a second output or as a word
clock thru jack. Just set the accompanying switch
as desired. In Thru mode, termination is disabled
so that you can daisy chain another word clock
device. Make sure the device has its own proper
termination for the end of the word clock chain.
28
INSTALLING THE V4HD HARDWARE
SYNCING DIGITAL AUDIO DEVICES
If you would like to transfer audio digitally between Master Master
The V4HD video features are enabled and it is Figure 3-15: Without sample rate conversion, you need to choose a
clock master to which all other devices slave. Each slaved device
therefore resolved to its video clock. remains continuously resolved to the master, meaning that there will
be no drift over time.
The V4HD video features are disabled, and you
Audio phase lock as shown above in Figure 3-15
are running the V4HD as an audio interface (see
can be achieved independently of time code
Audio only on page 39).
(location). For example, one device can be the time
Regardless of the V4HDs current operational code master while another is the clock master. But
mode, you would like to use the V4HDs digital only one device can be the audio clock master.
audio sample rate conversion feature.
Another benefit of direct master/slave clocking
The audio clock synchronization requirements for
(without sample rate conversion) is that each
these three scenarios are described in the following
slaved device remains continuously resolved to the
sections, starting with a general discussion of
master, which means that there will be no gradual
digital audio phase lock, and why it is essential for
drift over time. This form of synchronization is
clean and successful digital audio transfers.
best for audio that must remain resolved to picture.
Digital audio phase lock
Audio synchronization when capturing,
Without sample rate conversion, when you transfer converting or playing video
digital audio between two devices, their audio When the V4HD is capturing, converting or
clocks must be in phase with one another or playing video (as further explained later in Five
phase-locked as demonstrated below in modes on page 37), its audio clock (see Clock
Figure 3-14. Otherwise, youll hear clicks, pops, Source on page 73) resolves to its video clock. The
and distortion in the audio, or perhaps no audio at V4HD has three possible sources for video clock:
all.
The currently chosen video source (Figure 6-3
Figure 3-14: When transferring audio without sample rate conver- playing from the computer, or in Playback only
sion, two devices must have phased-locked audio clocks to prevent mode (page 38)
clicks, pops or other artifacts.
Without sample rate conversion, there are two ways Resolving to the current video source
If the V4HD is transmitting or receiving digital
to achieve phase lock: slave one device to the other,
audio from the current video source, the video
or slave both devices to a third master clock. If you
genlock between the two devices ensures that their
have three or more digital audio devices, you need
digital audio clocks remain resolved and phase
to slave them all to a single master audio clock.
locked, as demonstrated in Figure 3-16:
29
INSTALLING THE V4HD HARDWARE
Camera
Resolving a digital mixer to the V4HD
If the V4HD is currently operating as a video
interface (i.e. Audio only mode is not enabled), and
you would like to connect a digital mixer via ADAT
optical or AES/EBU (or both), resolve the digital
Video out AES/EBU out
mixer to the V4HD, either via its optical or
AES/EBU connection, or via word clock, similar to
what is shown in Figure 3-17.
Video in AES/EBU in
Figure 3-17: Capturing digital audio from a third device that is not
the current video source. In this case, the third device must resolve to
the V4HD via word clock in, AES/EBU input or ADAT optical input.
30
INSTALLING THE V4HD HARDWARE
If you choose the other device, such as a digital Sample rate conversion
mixer, as the clock master, resolve the V4HD to it The V4HD is equipped with one 8-channel bank of
via word clock in, AES/EBU in or ADAT optical in, real-time sample rate conversion that can be
as demonstrated below in Figure 3-18. assigned to any individual input or output bank
using the Sample Rate Convert software option
(page 75). This feature provides a great deal of
flexibility in making digital transfers. For example,
you can:
Master Other device
Transfer digital audio into the V4HD at a sample
Or you can resolve both the mixer and the V4HD or half the V4HD system clock rate.
to a third clock master device.
Transfer digital audio running at a 1x or 2x
(Slave)
Rate conversion does not add any appreciable noise
Word clock IN
to the audio signal (under -120 dB).
Other device
With sample rate conversion (SRC), an extra level
of master/slave clocking is added to the equation,
as demonstrated below in Figure 3-20, which
shows the clocking going on when you transfer
AES/EBU OUT/IN digital audio from the V4HD(AES/EBU out) to a
video deck (AES/EBU in) using SRC. Notice that
(Slave) with SRC, the video deck is not slaved to the
V4HD Word clock IN V4HDs system clock. Instead, their clocks are
running completely independently of one another.
AES/EBU IN/OUT
But also notice that the video deck must still slave
V4HD clock source: V4HD Sample Rate
Word Clock In Conversion setting:
to the sample-rate-converted output from the
None V4HD for a clean digital audio transfer (unless it
Figure 3-19: In this scenario, the V4HD and other AES/EBU device are has its own sample rate converter on its AES/EBU
both resolved to one another via a third master word clock source. input).
31
INSTALLING THE V4HD HARDWARE
Camera
V4HD master clock (master)
Video out
Input (slaves to V4HD master clock)
clock
V4HD Sample
Rate converter
Output Video in
clock (master*) V4HD clock source
setting: Video Clock
Figure 3-20: Clock relationships when sending audio from the V4HD ADAT optical out
to a video deck using sample rate conversion. The video deck needs to
be slaving to its AES/EBU input. *Note: the V4HD AES/EBU output can
be clocked from a number of different sources. In this example, it is
resolved to the V4HD system clock. For details about other possible
clock sources, see Rate convert options for digital audio output Digital mixer running under
below. its own digital audio clock
32
INSTALLING THE V4HD HARDWARE
CHAPTER 4 Installing the V4HD Mac OS X
Software
SOFTWARE INSTALLATION FOR MAC OS X installed, along with Final Cut Pro Easy Setups and
Install the V4HD software as follows: several support applications, summarized in the
table below.
1 Insert the V4HD Installer CD and launch the
installer. V4HD Easy Setups for Final Cut Pro
Easy Setups are a convenient way to universally
2 Follow the installers directions. configure all of the crucial settings for the V4HD in
Final Cut Pro, according to video format you
What does the OS X installer do? choose for your project. The V4HD Easy Install
The installer checks the computer to make sure it
option installs dozens of Easy Setups for your
satisfies the minimum system requirements for
convenience.
your MOTU video interface. If so, the installer
proceeds with the OS X installation. Drivers are
FCP MOTU RT Enabler.txt Library/Application Provides real time output to the V4HDs video -
Support/Final Cut outputs.
Pro System Support/
Plugins
MOTU V4HD Easy Setups Library/Application Provides over 60 Easy Setups for Final Cut See Easy setups on page 58
Support/Final Cut Pros Easy Setup feature. These help you
Pro System Support/ quickly configure Final Cut for the V4HD.
Custom Settings/
MOTU Video Setup Applications folder Provides access to all of the V4HDs video set- See chapter 6, MOTU
tings. Video Setup (page 41)
MOTU Audio Setup Applications folder Provides access to all of the audio settings in See chapter 8, MOTU
the V4HD and other MOTU interfaces con- Audio Setup (page 71)
nected to the computer.
MOTU SMPTE Setup Applications folder Provides access to the V4HDs time code sync See chapter 10, MOTU
features. SMPTE Setup (page 87)
CueMix FX Applications folder Gives you complete control over the V4HDs See chapter 9, CueMix FX
CueMix mixing feature, which provides no- (page 79)
latency monitoring and mixing of live inputs
through your V4HD system.
33
34
INSTALLING THE V4HD MAC OS X SOFTWARE
Part 2
Video Operation
CHAPTER 5 V4HD Basics
Figure 5-1: The MODE bank of LEDs in the VIDEO STATUS section.
37
Capture Even though the primary purpose of Capture
The V4HD is in Capture mode when it is connected mode is to feed video to the computer via FireWire,
to the computer and video software has actively the V4HD continues to simultaneously convert the
taken control of the V4HD hardware for the source video signal and send it to all video outputs
purposes of capturing video and audio from the as well. This allows you to simultaneously monitor
V4HD via the FireWire connection. Here are some what you are capturing using any combination of
examples of when video software would put the the V4HDs video outputs. You could even dub the
V4HD into Capture mode: source signal to a video deck or other video
recorder during capture.
You open the Log and Capture window in Final
Cut Pro. Or you use any Final Cut Pro feature, such Convert
as Edit to Tape, that involves capturing or Convert mode is almost identical to Capture mode
previewing the live video input from the V4HD. (above), except that the V4HD does not feed video
to FireWire and the computer. However, the
You run the MOTU Video Setup software and
currently selected video source is still fed to all
click the Preview tab (Figure 6-1 on page 41,
other V4HD video outputs. Convert mode serves
Figure 6-26 on page 52). This causes MOTU Video
as a default mode for the V4HD, when none of the
Setup to take over the FireWire video signal
other modes are currently engaged.
being supplied by the V4HD and display it in the
preview window. Playback / Playback only
In capture mode, only one software application has The V4HD goes into Playback mode when an
access to the V4HD at a time. For example, when application is sending video to it. For example,
the Video Setup is the active application and the Final Cut Pro puts the V4HD into playback mode
Preview tab is selected, Final Cut Pro will not see when All Frames or Single Frames is selected in the
the V4HD hardware at all. To give control to Final External Video sub-menu or when using Print to
Cut Pro, simply switch to Final Cut Pro. For further Video. Otherwise, the V4HD reverts to Convert
information, see Preview on page 52. mode, or Capture mode when you go into the Log
and Capture window.
Video Video
Inputs Outputs FireWire
Mode Description active active capture Clock source
Capture FireWire video capture, with all outputs active. Yes Yes Yes Video source
Convert All outputs active, no FireWire capture. Yes Yes No Video source
Playback / Playback only Inputs disabled, playback from Final Cut Pro. No Yes No V4HD video
clock
Audio only Video I/O is disabled. V4HD operates as a No No Audio Audio clock
FireWire audio interface. only source (page 73)
Standalone video V4HD is disconnected from the computer and Yes Yes No Video source
operates as a standalone video converter and audio
mixer.
Standalone audio V4HD is disconnected from the computer and No No No Audio clock
operates as a standalone audio mixer only. source (page 73)
38
V4HD BASICS
The Playback Only (disable inputs) option in the Setup tab in the MOTU Video Setup software
MOTU Video Setup software Setup tab (Figure 6-1 on page 41) and disable the Enable
(Figure 6-19 on page 48) lets you force the V4HD Video option (Figure 6-19 on page 48).
to stay in playback mode. Playback Only mode is
useful when you are at a point in your workflow You must use Audio Only mode if you want to
where you are not doing any capturing. For resolve the V4HDs digital audio clock to an
example, you may have no inputs connected to the external source, such as word clock, ADAT optical
V4HD hardware, or you may have inputs or AES/EBU. For further information, see Syncing
connected, but you are not currently using them. digital audio devices on page 29.
Playback Only mode keeps the V4HD hardware
Standalone
from switching back and forth unnecessarily
To put the V4HD in Standalone mode, unplug its
between Playback and Convert (or Capture)
FireWire cable connection to the computer, or turn
modes.
off the computer. Standalone mode is very similar
Audio only to Convert mode: no video goes to FireWire and
In Audio only mode, all of the V4HD video features the computer because it is disconnected, but the
are disabled and the V4HD operates as a currently selected video source is fed to all other
24-channel FireWire audio interface, which V4HD video outputs.
provides three 8-channel banks of analog, AES/
In standalone mode, you can use the front panel
EBU and ADAT optical I/O. (The fourth bank,
LCD to put the V4HD into Audio only mode (see
embedded audio, is disabled in this mode since
AV Mode on page 102). Doing so turns the
there is no video signal in which the audio could be
V4HD into a standalone 24-channel, 12-bus audio
embedded.) To engage Audio only mode, go to the
mixer. You can control the mixer from the front
panel LCD. See CueMix Menu on page 99.
39
V4HD BASICS
40
V4HD BASICS
CHAPTER 6 MOTU Video Setup
Tabs Settings
41
SIGNAL PATH DIAGRAM In most situations, the Signal Path Diagram lets
The Signal Path Diagram (Figure 6-2, Figure 6-3) you access the settings for a mode, even when the
lets you view and control the V4HDs hardware- hardware is not currently in that mode. Displaying
based video conversion features and signal flow the settings for a mode doesnt put the V4HD in
settings. The Signal path Diagram lets you pre- that mode. For information about controlling what
configure and store independent settings for five mode the V4HD is in, see chapter 5, V4HD
common operational scenarios: Basics (page 37).
Format
HD output conversion
Playback settings signal path diagram HD output format HD destinations
HDMI / DVI
menu
42
MOTU VIDEO SETUP
Playback settings menu according to the settings youve made for that
The Playback Settings menu (Figure 6-2) lets you format. Whenever playback starts, the MOTU
choose one of four sets of playback settings to view Video Setup software automatically switches to the
in the signal path diagram. There are separate Playback tab to show the settings for the format
settings for 480, 576, 720 and 1080 playback being played.
(Figure 6-4). When you choose a format from this
menu, the settings for the format are displayed in Playback frame rate
the Playback Signal Path diagram. When Final Cut Choose the desired playback frame rate
Pro is running, this menu becomes inactive and (Figure 6-4) you wish to work with in the Playback
simply displays the Final Cut Pro timeline format Signal Path diagram. The frame rate you choose
and frame rate. here should match what you intend to use in Final
Cut Pro, and it determines what other hardware
settings youll see in the Playback Signal Path
diagram, such as up or down conversion formats,
pull-down insertion, etc.
Playback formats Playback frame rate
Convert/Capture signal path
If the V4HD is not in Playback Only mode (as
explained in chapter 5, V4HD Basics), click any
other tab besides the Playback tab (Figure 6-1) to
view the Conversion/Capture Signal Path settings in
Figure 6-4: The Playback Settings menu. the signal path diagram (Figure 6-3). Unlike the
four sets of playback settings, there is only one set
When you play back video from Final Cut Pro, the
of conversion/capture settings. Changing
V4HD hardware detects the video format being
Conversion/Capture settings in the signal path
output by Final Cut Pro and distributes it to the
diagram changes these settings immediately in the
V4HD hardware HD and SD destinations
hardware.
Format
HD output conversion
Video Source menu signal path diagram HD output format HD destinations
HDMI / DVI
menu
Source
format
43
MOTU VIDEO SETUP
Video Source menu Letterbox (HD to SD)
The Video Source menu (Figure 6-3) is important Letterboxing is the standard practice of
because this is where you choose the video input conforming widescreen film images such as film or
from which the V4HD will convert and capture. HD to an SD video frame while preserving the
Choose any SD or HD source (Figure 6-5), and the original aspect ratio. Since the SD video frame is
V4HD converts it to all output formats and sends it more square than the widescreen frame, the
over Firewire to the computer. resulting image has black bars or mattes above
and below the image (Figure 6-7).
SD frame
44
MOTU VIDEO SETUP
Full Screen (HD to SD) SD to HD up conversion formats
The Full Screen option (Figure 6-6) also preserves When an SD source is chosen from the Video
the aspect ratio of the HD image but scales it Source menu (Figure 6-5), the Format Conversion
proportionally to fill the full height of the SD frame menu appears in the HD signal path, as shown
(Figure 6-9). As a result, the portions of the HD below in Figure 6-11:
image that fall outside the frame (along the left-
hand and right-hand edges) are cropped. But the
full height of the SD frame is used.
Figure 6-9: Full Screen formatting. The menu provides the following SD to HD up
Anamorphic (HD to SD) conversion formatting options:
The Anamorphic option (Figure 6-6) does not
preserve the aspect ratio of the HD image. Instead,
it scales the image to fill the full height of the SD
frame, but it also distorts the HD image
horizontally so it squeezes into the SD frame
Figure 6-12: SD to HD up conversion formatting options.
(Figure 6-10). As a result, the entire HD image is
preserved, but it appears horizontally compressed. Pillar Box (SD to HD)
This option is good for SD material that will be Pillar box formatting is a method for conforming
displayed on a widescreen TV, where it can be SD video to an HD video frame while preserving
horizontally expanded back to an aspect ratio that the original aspect ratio. Since the HD video frame
is close to the aspect ratio of the original HD image. is more rectangular than SD video, the resulting
image has black bars or mattes on either side of
the image (Figure 6-13).
HD frame
Source SD image (color bars)
45
MOTU VIDEO SETUP
fill the unused portion of the frame on either side that expands to fill the HD frame (Figure 6-16). As
(Figure 6-13). No cropping occurs and the full a result, the entire SD image is preserved, but it
image is preserved. appears horizontally expanded.
Destinations
The Destinations on the far right of the signal path
diagram (Figure 6-3) display where the HD and SD
video signals go.
represented by the block labeled with the FireWire 1080i29.97 and 480i29.97
icon (Figure 6-3). Notice that this block can be fed
Playing back 720p23.976, converting to
by either the HD or the SD signal path, depending
720p59.94 and 480i29.97
on the Preview Format setting (Figure 6-26 on
page 52). This block is not present in the Playback Playing back 1080p24, converting to 1080i30
Signal Path diagram (Figure 6-2), since the V4HD (SD is disabled in this case.)
does not feed a signal to the computer in this mode.
Playing back 720p24, converting to 720p60 (SD
47
MOTU VIDEO SETUP
TABBED SETTINGS Most of the time, you will probably use the Genlock
Use the tabs (Figure 6-1) to view settings for each and Format and Genlock modes discussed below,
tab in the lower right area of the window. Each tab which automatically detect the incoming video
is discussed in the following sections. signal. However, there may be times when it is
useful for you to be able to manually determine
SETUP format. For example, if you are feeding a
The Setup tab (Figure 6-19) has the following compromised video signal to the V4HD, setting the
settings. format manually might produce the best results in
terms of capturing the degraded signal, as the
Auto Detect Input Format
V4HD may be able to better maintain genlock.
The Auto Detect Input Format option (Figure 6-19)
lets you choose the degree to which the V4HD will Manual Refresh button
automatically detect the video format for the input When you choose Manual mode from the Auto
currently chosen in the Video Source menu Detect Input Formant menu, the Manual Refresh
(Figure 6-3). button appears in the Setup tab (Figure 6-21).
Click this button to force the V4HD to relock to the
Manual
incoming video signal. This may be necessary after
Choose Manual to specify the format by hand from
restarting the signal, swapping cables, etc.
the HD and SD output format menus in the signal
path diagram.
Genlock
The Genlock option causes the V4HD to
automatically genlock to the incoming video
signal, but you can still specify the video format,
according to what makes sense, given the
genlocked signal. For example, there is no way for
the V4HD to differentiate 1080i29.97 input from
Figure 6-20: Manually specifying the input format.
48
MOTU VIDEO SETUP
1080PsF29.97 input. The signals are identical but FireWire 800 HQ
will be interpreted differently by the V4HDs down If you are using FireWire B, choose the FireWire
converter, so in a case like this, you can choose 800 HQ setting. This option is only present in the
Genlock and then specify the incoming format menu when the V4HD is connected to the Mac via
manually in the HD and SD Output Format menus FireWire B operating at 800 Mb/s. It is not available
(Figure 6-3), as explained in SD/HD output when FireWire A (400) is being used. This option
format on page 46. produces the best possible video quality for full
raster capture and playback with ProRes or any
Format and Genlock other other high-quality HD codec with
The Format and Genlock option (Figure 6-19) compression characteristics similar to ProRes HQ
causes the V4HD to fully detect both genlock and (a compression ratio of approximately 6:1).
the video format for the current video source.
FireWire 400 HQ
SDI Output Timecode Format If you are using a FireWire A connection, choose
Use the SDI Output Timecode Format menu FireWire 400 HQ. This setting provides high-
(Figure 6-19) to specify the form of embedded quality full raster video capture and playback over
time code to include in the V4HD SDI output a FireWire A, along with at least eight channels of
signal. Choices are LTC, VITC 1 and VITC 2. 48 kHz audio. This setting produces the best
possible video quality when circumstances require
480i Component Analog Format
the use of a FireWire 400 (FireWire A) connection.
The 480i Component Analog Format option lets
This setting is also permitted when using FireWire
you specify the voltage level standard for the
800, and could be used to free up FireWire
V4HDs SD component inputs and outputs when
bandwidth for other daisy-chained devices or
running at 480i (NTSC). Choices are: EBU N10,
additional banks of audio.
Sony Beta, Sony Beta Japan and Panasonic MII.
Choose the format that best matches the device(s) FireWire 400
connected to the SD component input and output. The FireWire 400 setting is similar to the
FireWire 400 HQ setting above, except that it allows
Full Raster mode
for up to three 8-channel banks of 48 kHz audio (or
The V4HD goes into Full Raster mode when you
one 8-channel bank of 96 kHz audio) over a
specify Apple ProRes as the video format for your
FireWire 400 connection.
Final Cut Pro project. More specifically, the V4HD
goes into Full Raster mode when you choose a Timecode Source
ProRes sequence, capture or playback preset, or The Timecode Source menu (Figure 6-19) lets you
when you specify V4HD (or MOTU) Full Raster specify which time code source you would like the
for video input or output (as demonstrated in V4HD to resolve to: Sony 9-pin (via the RS-422
Figure 7-4 on page 60). When you are working port), the LTC jack on the rear panel of the V4HD,
with full-raster video, make sure the Full Raster SDI (embedded) time code from the SDI input
mode (Figure 6-19) matches the FireWire currently chosen in the Video Source menu
connection you are using between the V4HD and (Figure 6-3 on page 43), or SD VITC (vertical
the computer. interval time code) from the currently chosen SD
source input.
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MOTU VIDEO SETUP
480i Setup also allows you to resolve the V4HD to another
The 480i Setup option (Figure 6-19) lets you digital audio device via its word clock input, AES/
choose between USA (7.5%) and Japan (0.0%) for EBU input or ADAT optical input. See Syncing
NTSC composite and S-video input and output. digital audio devices on page 29.
Enable Video
The Enable Video option (Figure 6-19) enables or
disables all of the V4HDs video features. When
they are disabled, the V4HD operates as a
24-channel audio interface and mixer, or as a
stand-alone mixer. Disabling the video features
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MOTU VIDEO SETUP
OUTPUT 576i Broadcast Legalizer
The Output tab (Figure 6-22) provides settings for The 576i Broadcast Legalizer menu (Figure 6-22,
the V4HD video outputs. Figure 6-24) controls limiting the PAL composite
output in a similar manner as discussed above for
480i Broadcast Legalizer NTSC composite output, except that the levels for
Video with highly saturated colors may result in a PAL are expressed in millivolts (mV).
composite signal which is too hot to broadcast.
The 480i Broadcast Legalizer menu (Figure 6-22,
Figure 6-23) controls the V4HDs SD Broadcast
Legalizer module, which desaturates any overly
saturated pixels to bring the composite signal
within the specified limit. For example, selecting
120 IRE guarantees the output will never exceed Figure 6-24: 576i Broadcast Legalizer menu.
Figure 6-23: 480i Broadcast Legalizer menu. Figure 6-25: Sending SD video to the HDMI output.
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MOTU VIDEO SETUP
PREVIEW The Preview tab and Final Cut Pro
The Preview tab (Figure 6-26) lets you preview the Final Cut Pro takes over the V4HD hardware when
video signal being received from the currently it is the front-most (active) application. MOTU
selected input in the Video Source menu Video Setup does the same. Therefore, the preview
(Figure 6-3). Choose the desired Preview Format window only works when MOTU Video Setup is
(SD or HD) from the menu provided. If up active. In this case, Final Cut Pro releases the
conversion or down conversion is being applied, V4HD hardware, so you wont be able to capture or
the Format Conversion menu on page 44 play anything in Final Cut Pro while MOTU Video
determines how the signal is formatted within the Setup is the active application.
preview frame.
To reestablish communication with Final Cut Pro,
If you dont see the source video signal simply switch back into Final Cut Pro.
If you have trouble getting the source video signal
to appear in the preview frame, try checking the Codec Missing
Auto Detect Input Format setting in the Setup tab If you see a Codec Missing message in the Preview
(Figure 6-19) and make sure it is set to Format and frame, this means that MOTU Video Setup cannot
Genlock. Also check the Genlock LED (Figure 6-1). find a software component required to display the
incoming video format. Compatible codecs are
installed with Final Cut Pro.
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MOTU VIDEO SETUP
PLAYBACK Internal
The Playback tab (Figure 6-27) provides settings Choose Internal (Figure 6-28) to make the V4HD
that apply to video playback from Final Cut Pro (as resolve to its own internal clock. This setting is best
opposed to capturing). Therefore, these settings when you do not need to resolve the V4HD to
relate to the current settings in Final Cut and its house sync (blackburst).
timeline.
REF in Bi-level (SD)
The playback signal path Choose REF in Bi-level (SD) (Figure 6-28) when
When you click the Playback tab, the signal path you wish to resolve the V4HD to an SD clock
diagram displays settings for playback from Final source connected to its VIDEO REF input on the
Cut Pro, as explained earlier in Playback signal rear panel. Use this setting to resolve the V4HD to
path on page 42. house sync (blackburst).
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MOTU VIDEO SETUP
Playback 29.97 fps Timecode CONVERT
If your Final Cut Pro time line is currently set to the The Convert tab (Figure 6-29) provides two
29.97 drop-frame format, choose Drop Frame from settings for SD to HD up conversion during
the Playback 29.97 fps Timecode menu capture or playback.
(Figure 6-27) so that the V4HD matches Final Cuts
frame format. If Final Cut is running 29.97 Upconversion Deinterlacing
non-drop, choose Non-Drop Frame. (If you are When an SD video signal is upconverted to HD, it
running Final Cut at any other frame rate besides must be deinterlaced (and, depending on the HD
29.97, this setting is ignored.) format you are working with, re-interlaced). The
V4HD provides three different settings for
Playback Timecode Offset deinterlacing to provide the best possible results
The Playback Timecode Offset options for various types of video material. You can, of
(Figure 6-27) let you specify the frame format and course, experiment with the three options to find
timecode offset for timecode generated by the which one produces the best-looking results.
V4HD during playback. Make sure these settings
match their corresponding settings in your Final
Cut Pro project, so that the V4HD generates
timecode that matches Final Cut Pros time line.
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MOTU VIDEO SETUP
None/Weave INPUT
The None/Weave option (Figure 6-30) is the The Input tab (Figure 6-31) provides several
simplest algorithm, with no processing or settings for adjusting the Brightness, Contrast and
advanced frame/field detection. Instead, it Hue of the incoming Composite or S-Video (SD)
weaves each pair of fields together, treating them signal.
as a progressive frame. This option is best for
material that shouldnt really be treated as THE GENLOCK LED
interlaced, such as SD footage shot in non- The genlock LED (Figure 6-1) indicates when the
standard, progressive recording modes, such as V4HD has successfully genlocked to one of the
the30p mode found on some cameras. following sources:
Use the Detect Pull-down option (Figure 6-30) if currently chosen input in the Video Source menu
the source footage already has either 2:3 or 2:3:3:2 (Figure 6-3 and Figure 6-5)
pull-down inserted (due to a telecine transfer, the
the Playback Clock Source (Figure 6-27 and
24p record mode of some cameras, etc.) The
Figure 6-28)
V4HD will auto-detect the cadence of the pull-
down and assemble frames accordingly. the Video REF input (see Video sync
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MOTU VIDEO SETUP
56
MOTU VIDEO SETUP
CHAPTER 7 Final Cut Pro
The V4HD supports full-raster HD capture to Switch on the V4HD and run MOTU Video
Apple ProRes or any other similar HD codec of Setup to make sure that installation has been
your choice. It also provides hardware-accelerated successful. If MOTU Video Setup launches without
capture directly to DVCPro, DVCPro50 and any error messages, then Final Cut Pro should
DVCProHD. successfully communicate with the V4HD.
57
EASY SETUPS FINAL CUT PRO AUDIO/VIDEO SETTINGS
There are five settings in Final Cut Pro that directly To set up Final Cut Pro manually, without using an
impact V4HD operation: Easy Setup, or to adjust the settings for an Easy
Setup, simply go to Final Cut Pros Audio/Video
Sequence preset Settings window (Figure 7-2) and individually
Capture preset select the V4HDs capture, device control and
sequence presets. The V4HD presets are identified
Device Control Preset by either V4HD or MOTU in their name. If you
Video Playback dont see a preset for the capture or playback
scenario you need, this doesnt necessarily mean
Audio Playback its not supported. It probably is, and you can create
Easy Setup (Figure 7-1) is a convenient way to your own. See Supported conversions on page 63
universally configure all of these settings according and Creating your own capture/playback presets
to the video format you have chosen for your Final on page 64.
Cut Pro project. Once youve chosen a V4HD Easy
Setup, you can modify it as needed in Final Cut
Pros Audio/Video Settings window (Figure 7-2).
Figure 7-2: V4HD Easy Setup settings can be adjusted in Final Cut Pros Audio/Video Settings window.
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FINAL CUT PRO
CHOOSING A WORKFLOW capture and decompression during playback.
The V4HD supports a range of SD and HD Video streams over FireWire to and from the
workflows, summarized in Figure 7-3 below. The computer as a compressed DVCPro video stream.
V4HD supports every workflow via FireWire 400 Choose the sequence and capture presets that
or 800, although Apple ProRes 422 HQ should be correspond with the video format, frame rate and
used with a FireWire 800 connection whenever DVCPro format you need to capture, edit and play
possible. For uncompressed SD, all DVCPro back.
formats and Apple ProRes, the V4HD provides
sequence and capture presets for all supported Apple ProRes 422
format/frame rate/codec combinations. Other The V4HD provides hardware-assisted Apple
codecs require that you make your own custom ProRes 422 capture and playback over FireWire
sequence settings. Refer to the following sections 400 or 800. When capturing ProRes, Final Cut Pro
for further information regarding each workflow. requires an Intel-based multi-processor Mac, and
Also see Video encoding and CPU performance four or more processor cores are recommended.
during capture on page 61. For ProRes operation, be sure to choose the V4HD
Full raster presets (for the sequence, capturing and
Uncompressed SD playback) that correspond with the video format
The V4HD supports both 8-bit and 10-bit and frame rate you are working with. For the best
uncompressed SD capture and playback via possible video quality, set the V4HDs Full Raster
FireWire 400 or 800. Both NTSC and PAL formats mode (Figure 6-19 on page 48) to FireWire 800 HQ.
are supported, as well as 480p 23.976. Choose the This setting requires a FireWire 800 connection
sequence preset and capture preset that between the V4HD and the Mac. See Full Raster
corresponds with the format you need to capture, mode on page 49 for further information. If your
edit and play back. computer experiences performance issues during
capture or playback, or if circumstances do not
DVCPro25 / DVCPro50 / DVCProHD allow for a FireWire 800 connection, you can use
The V4HD provides hardware-accelerated the FireWire 400 settings with excellent results,
DVCPro25, DVCPro50 or DVCProHD capture and especially for ProRes standard quality workflows.
playback over FireWire 400 or 800. The V4HD
hardware performs DVCPro compression during
Workflow FireWire support Sequence preset Capture preset Full raster setting
Uncompressed SD 400 or 800 V4HD - Uncompressed V4HD - Uncompressed N/A
DVCPro25 / DVCPro50 400 or 800 V4HD - DVCPro / DVCPro50 V4HD - DVCPro / DVCPro50 N/A
Apple ProRes 422 standard 400 or 800 V4HD - Apple ProRes 422 V4HD - Full raster FireWire 800 HQ
recommended
Apple ProRes 422 HQ 800 only V4HD - Apple ProRes 422 (HQ) V4HD - Full raster FireWire 800 HQ
recommended
Other codec 400 or 800 Custom V4HD - Full raster FireWire 800 HQ
recommended
Figure 7-3: The V4HD supports these workflows with Final Cut Pro.
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FINAL CUT PRO
Other codecs V4HD HARDWARE SETTINGS
The V4HD provides hardware-assisted capture Once youve chosen a workflow and the
and playback over FireWire 400 or 800 for any HD corresponding presets in Final Cut Pros Easy Setup
codec supported by Final Cut Pro. The V4HD is and Audio/Video Settings windows (Figure 7-1
optimized for codecs that are similar in nature to and Figure 7-2), open the MOTU Video Setup
ProRes HQ (around a 6:1 compression ratio or application (Figure 6-1 on page 41) to view the
higher). To specify a codec other than ProRes or V4HDs hardware settings and make any
DVCProHD, choose the V4HD Apple ProRes adjustments, if necessary.
preset that most closely matches the video format
and frame rate you wish to use, duplicate it and Capture settings
then simply modify the duplicate preset, choosing To access the V4HDs capture settings, click the
a different codec from the Compressor menu Setup tab to view the Capture Signal Path
(Figure 7-4). For further details about creating (Figure 6-3 on page 43) and Setup tab settings
your own presets, see Creating your own capture/ (Figure 6-19 on page 48). In the Setup tab, make
playback presets on page 64 and Supported sure that the Enable video option is enabled and the
conversions on page 63. Playback only (disable inputs) option is disabled.
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FINAL CUT PRO
your sequence. When Final Cut Pro is running, this
menu cannot be changed, as the playback format is
specified by your settings in Final Cut Pro.
choose Drop frame from the Playback 29.97 fps 3 Click the Capture Settings tab (Figure 7-5) and
Timecode menu (Figure 6-27 on page 53). check the Device Control and Capture/Input
settings.
If you want Final Cut Pro to resolve to an external
sync source during playback, choose the desired These two settings are pre-configured if you
source from the Playback Clock Source menu created your Final Cut Pro project using a V4HD
(Figure 6-28 on page 53); otherwise, leave it set to Easy Setup.
Internal.
4 Click the Now button to start the capture.
For interlaced output from the V4HD, use the
Interlace Pause Mode options (Figure 6-27) to Refer to Part IV of the Final Cut Pro manual for
determine what youll see when Final Cut Pro is more information on advanced capture settings
paused. (such as batch capture, logging, etc.)
Figure 6-19 on page 48. Video encoding and CPU performance during
capture
For details on other playback settings, review If you are capturing uncompressed SD, the
Chapter 6, MOTU Video Setup (page 41). uncompressed video stream goes straight to your
hard drive, with no compression or encoding
LOG AND CAPTURE
required along the way.
Once youve decided on a workflow, chosen the
corresponding Easy Setup preset for your Final Cut When capturing any form of DVCPro (DVCPro25,
Pro project and specified the video input you wish DVCPro50 or DVCProHD), the V4HD hardware
to capture in MOTU Video Setup, you are ready to does the work of compressing the incoming
log and capture video from the V4HD: (uncompressed) video stream into DVCPro. The
V4HD then sends the DVCPro stream over
1 Make sure that the V4HDs Playback Only
FireWire to Final Cut, which streams it directly to
option (Figure 6-19) in MOTU Video Setup is
the hard drive, with no further encoding necessary
disabled. See Playback Only (disable inputs) on
on the computer. In this scenario, there is no
page 50.
additional computer CPU overhead due to video
2 Choose Log and Capture from the File menu. compression or encoding, since none is required
by the time the video stream reaches the computer.
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FINAL CUT PRO
When you are capturing Apple ProRes 422, Final an external clock source. See Playback Clock
Cut Pro performs the encoding in real time during Source on page 53. Be sure to review the other
capture. Given todays Intel processor speeds, settings in the Playback tab (page 53).
ProRes requires approximately one Intel CPU core
to perform this task, depending on the ProRes Video decoding and CPU performance during
quality mode (standard or HQ), the speed of the playback
If you are playing uncompressed SD from the Final
processors, and other related factors. Your
Cut Pro timeline, the uncompressed video stream
performance will vary, but generally speaking,
goes straight to the V4HD, with no compression or
ProRes 422 standard quality capture requires a
encoding required along the way.
computer with at least two Intel core processors;
four cores or more are recommended. ProRes 422 When playing back any form of DVCPro
HQ quality requires a computer with four Intel (DVCPro25, DVCPro50 or DVCProHD), the
cores or more. V4HD hardware does the work of decompressing
the outgoing DVCPro video stream into
If you have chosen to capture to an HD codec other
uncompressed video for output to its HD-SDI,
than DVCPro or Apple ProRes, the situation is
HDMI and HD component outputs. In this
similar to ProRes capture, described above. Final
scenario, there is no additional computer CPU
Cut Pro does the work of compressing the video
overhead required for video decompression or
stream, and so the computers CPU performance
transcoding, since none is required to transmit the
must be good enough to handle the real-time
DVCPro stream from the computer to the V4HD.
encoding. Again, your performance will vary,
depending on the codec you have chosen, core When you play back an Apple ProRes 422 Final Cut
processor speeds, etc. If you have a four- or eight- Pro sequence, or any other codec, Final Cut Pro
core machine, however, you should be able to performs real-time transcoding. Given todays
readily capture in just about any format you wish. Intel processor speeds, ProRes requires
approximately one Intel CPU core to perform this
PLAYBACK AND MONITORING
task, depending on the ProRes quality mode
To play back your Final Cut Pro project and view it
(standard or HQ), the speed of the processors, and
on any monitor or other device connected to the
other related factors. Your performance will vary,
V4HDs video outputs:
but generally speaking, ProRes 422 standard
1 Choose View menu> External Video> and make quality playback requires a computer with at least
sure that the All Frames item (command-F12) is two Intel core processors; four cores or more are
checked. recommended. ProRes 422 HQ quality requires a
computer with four Intel cores or more.
2 Start playback.
When you play back a Final Cut Pro timeline with
If you are at a point in your project workflow where an HD codec other than DVCPro or Apple ProRes,
you are no longer capturing clips, you might want the situation is similar to ProRes playback,
to consider putting the V4HD in Playback Only described above. Final Cut Pro does the work of
mode (Figure 6-19) in MOTU Video Setup. See transcoding the video stream, and so the
Playback Only (disable inputs) on page 50. In computers CPU performance must be good
this mode, you can either run the V4HD under its enough to handle the real-time transcoding. Again,
own internal clock, or you can resolve the V4HD to your performance will vary, depending on the
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FINAL CUT PRO
codec you have chosen, core processor speeds, etc. Hardware
If you have a four- or eight-core machine, however, conversion
during... Final Cut Pro settings V4HD settings
you should be able to play back just about any
Playback Video Playback Playback Signal Path
video format you wish. menu in Audio/ (Figure 6-2) and Con-
Video settings win- vert tab (Figure 6-29)
dow (Figure 7-2)
HARDWARE CONVERSION DURING
CAPTURE OR PLAYBACK Capture Capture Preset Convert/Capture Signal
menu in Audio/ Path (Figure 6-3) and
The V4HD provides hardware-based conversion Video settings win- Convert tab
dow (Figure 7-2) (Figure 6-29)
features, which you can employ during capture or
playback in Final Cut Pro. Here are a few examples:
Supported conversions
During log and capture, you could up-convert
In general, the menus in the Playback and Capture
SD to HD in the V4HD hardware and then capture Signal Path diagrams provide all applicable settings
it in Final Cut Pro as HD. Or you could down- that are supported for any given conversion
convert HD to SD and capture as SD. scenario. Here is a brief summary the forms of real-
time, hardware conversion supported (note that
If you are capturing or playing back 23.976 fps they can be often be combined, too, where
source material, you could insert pull-down to applicable):
29.97 during capture or playback.
SD to HD up conversion (from 480 or 576 to 720
As demonstrated below in Figure 7-7, you could
or 1080)
play back 480p 23.976 material from Final Cut Pro
and view it on SD monitors with pull-down HD to SD down conversion (from 720 or 1080 to
Figure 7-7: An example of hardware conversion during playback. Final Cut Pro is playing back 480p23.976. The V4HD
hardware is simultaneously inserting 2:3 pull-down for SD playback and converting to 1080p23.976 with 14:9 pillar
box formatting for HD playback.
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FINAL CUT PRO
Conversions that are not supported V4HD AUDIO SETTINGS
If the menus in the Playback Signal Path and To access basic V4HD audio settings:
Capture Signal Path diagrams dont provide the
format you are looking for, it means that this form 1 Choose Final Cut Pro menu> Audio/Video
of conversion either doesnt apply, or it is not Settings.
supported by the V4HD video conversion
hardware. For these forms of conversion, 2 Select the A/V Devices tab.
summarized below, use Final Cut Pro or
3 Choose the V4HD for audio playback.
Compressor to perform off line transcoding on the
computer: 4 Click the Options button to set the number of
channels, sample rate, etc. These settings will
HD to HD cross conversion use transcoding
modify the V4HD hardware so that it matches the
to convert 720 to 1080 or vice versa
setting in Final Cut Pro.
Frame rate conversion use transcoding to
convert 29.97 fps to 30 fps (or vice versa), 23.976 You can verify the V4HDs audio settings using
fps to 24 fps, 59.94 fps to 60 fps, etc. MOTU Audio Setup (Figure 8-1 on page 72).
Conversion from NTSC to PAL (or vice versa) Choosing audio banks
The V4HD provides four 8-channel banks of
Down conversion from 1080p 23.976 or 1080PsF
simultaneous audio input and output. Each bank
23.976 to NTSC while doing full raster capture or
can be enabled or disabled. In Final Cut Pro, the
playback. (In this case, SD output is black.)
V4HDs channels are simply numbered 1, 2, 3, 4,
Creating your own capture/playback presets etc. How do Final Cut Pros channel numbers
If the capture or playback preset menus dont have correspond to the V4HDs enabled audio banks?
the preset you are looking for, you can create your The answer is the order of the 8-channel banks.
own presets, as long as they conform to the The V4HD audio banks always go in the following
guidelines stated earlier in the Supported order, from lowest channel number to highest:
conversions section.
1. Analog
To create capture presets, go to the Audio/Video 2. AES/EBU
Settings window, click the Capture Presets tab
(Figure 7-2), select an existing V4HD preset (it 3. ADAT
doesnt matter which one) and click the Duplicate 4. Embedded (SDI/HDMI)
button. Modify the settings as desired. If you
intend to choose a non-V4HD codec, see Other
codecs on page 60.
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FINAL CUT PRO
This is the order in which the banks appear in
MOTU Audio Setup:
Figure 7-8: The top to bottom order of the audio banks listed in MOTU
Audio Setup is how they are ordered in Final Cut Pro. Figure 7-9: Clip Settings tab.
In the above example (Figure 7-8), the analog and The channels in the list (Figure 7-9) correspond to
SDI banks are enabled. This means that the V4HD the V4HD audio banks currently enabled in
will supply 16 channels of audio input and output MOTU Audio Setup (Figure 7-8), as explained
to Final Cut Pro. Channels 1-8 are the analog ins earlier in Choosing audio banks.
and outs; channels 9-16 are the SDI ins and outs. If
the AES/EBU bank is enabled, channels 9-16 3 Use the arm/disarm buttons next to each
would be the AES/EBU channels. It is a good idea channel number (Figure 7-9) to choose which
to only enable the audio banks you are using. V4HD audio inputs to record.
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FINAL CUT PRO
Chapter 9, CueMix FX (page 79) for complete REFRESH A/V DEVICE
information about controlling CueMix monitoring If you switch off the V4HD, or the connection with
the hardware is disrupted for some reason, you can
Sync CueMix audio with video output on
bring the V4HD back on line by choosing View
page 77 and Additional Audio Delay on page 76
menu> Refresh A/V Devices.
for details about managing audio latency for
CueMix monitoring TIME CODE
To lock Final Cut Pro to time code during capture,
AUDIO PLAYBACK
go to the Setup tab (Figure 6-19 on page 48) in
To play back audio:
MOTU Video Setup and choose the Timecode
1 Choose View menu> Audio Playback> V4HD. Source (page 49).
2 In the Sequences window, select your sequence. To configure the time code format being output by
the V4HD hardware while Final Cut Pro is playing
3 Choose Sequence menu> Settings. back, go to the Playback tab (Figure 6-27 on
page 53) in MOTU video Setup and choose the
4 Click the Audio Outputs tab and configure the Playback Clock Source (page 53). Also check the
outputs as needed. Consult your Final Cut Pro following additional Playback tab settings:
documentation for details.
Playback 29.97 fps Timecode (page 54)
5 Go to the Audio Mixer to assign each audio
Playback Timecode Offset (page 54)
track to the desired V4HD audio output, or right-
click on the Toggle Auto Select icon next to each
DEVICE CONTROL
audio track in the track Time Line window. The V4HD Easy Install option installs device
control presets for Final Cut Pro that are fine-tuned
to work with a variety of formats during capture,
edit to tape and print to video operations.
Figure 7-10: Assigning audio tracks to V4HD audio outputs. 3 In MOTU Video Setup, choose Sony 9-Pin from
the Timecode Source menu (Figure 6-19), which is
See Additional Audio Delay on page 76 for details found in the Setup tab, or choose LTC if your deck
about compensating for the inherent delay in is feeding timecode to the computer via the LTC
external monitors. input (instead of via 9-pin).
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FINAL CUT PRO
4 Back in Final Cut Pro, choose the device control FINAL CUT PRO VIDEO FORMATS
preset that best suits your project and device. This The V4HD can capture and play back the following
setting can be accessed in the Audio/Video Settings video formats from Final Cut Pro:
window (Final Cut Pro menu) or in the Capture
Settings tab in the Log and Capture window. SD
Uncompressed 8-bit and 10-bit at 480p23.976,
You can now use Final Cut Pros transport features 480i29.97, 486i29.97 and 576i25
to control your deck. Consult the Final Cut Pro DVCPro25 or DVCPro50 at 480p23.976,
documentation for complete information about 480i29.97 and 576i25
using machine control during capture, edit to tape
and print to video operations. Note: the V4HD supports 480p23.976 SD capture
and playback with hardware pull-down insertion/
FIREWIRE 400 BANDWIDTH removal.
If you have connected the V4HD to the computer
via the 400 Mb/sec FireWire A port (page 8), you HD
Apple ProRes 422 in standard or HQ modes. Or
may see a warning message (Figure 7-11):
any similar full-raster video format supported by
Final Cut Pro with a 10-bit 4:2:2 color space and a
compression ratio similar to ProRes (approxi-
mately 6:1 or greater).
DVCProHD 720p at 720p23.976, 720p24,
choose a lower sample rate (such as 44.1 or 48 The V4HD can capture and play back 1080i50 at 30
kHz). fps, which provides better resolution (1440 pixels
wide) than 1080i60 (1280 pixels wide). However,
In MOTU Audio Setup (Figure 8-1 on page 72),
files recorded in the 1080i50 format cannot be
disable audio banks that you are not using.
recorded or played by other DVCProHD devices,
Unplug your FireWire A connection to the such as a DVCProHD compatible video deck or
computer and switch to a FireWire B connection. camera.
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FINAL CUT PRO
Part 3
Audio Operation
CHAPTER 8 MOTU Audio Setup
71
V4HD tab settings General tab settings
The V4HD tab (Figure 8-1) provides settings that The General tab (Figure 8-1) provides settings that
apply to a specific V4HD interface. If you have apply globally to all connected MOTU interfaces.
MOTU audio interfaces connected to your
computer in addition to the V4HD, youll see a
separate tab for each interface.
Figure 8-1: MOTU Audio Setup gives you access to all of the audio settings in the V4HD hardware.
72
MOTU AUDIO SETUP
V4HD TAB SETTINGS Internal
When video is disabled (see Enable Video on
Sample Rate page 50), use the Internal setting when you want
Choose the desired Sample Rate for recording and
the V4HD to operate under its own digital audio
playback. The V4HD can operate at 44.1 (the
clock. For example, you may be in a situation
standard rate for compact disc audio), 48, 88.2, 96,
where all you are doing is playing audio from Final
176.4 or 192 kHz. Make absolutely sure that all of
Cut Pro or audio software on the computer. In a
the devices connected digitally to the V4HD match
situation like this, you most often dont need to
the V4HDs sample rate.
reference an external clock of any kind.
Mismatched sample rates cause distortion and
ADAT optical
crackling. If you hear this sort of thing, check the When video is disabled (see Enable Video on
sample rate settings in your hardware and here in page 50), the ADAT optical clock source setting
MOTU Audio Setup. refers to the clock provided by the V4HDs optical
Operation at 4x sample rates (176.4 or 192kHz) input, when it is connected to an ADAT optical
At the 4x sample rates (176.4 or 192kHz), device. This setting can be used to slave the V4HD
operation of the V4HD audio features is restricted, directly to the optical input connection. In this
due to the higher audio bandwidth demands, as scenario, the ADAT Optical clock source setting lets
follows: you slave the V4HD to the other device via its
digital connection to the V4HD.
The V4HD provides 8 channels of analog input
and 8 channels of analog output, simultaneously. The V4HD has two pairs of optical
connectors: a main pair (for 8-channel operation at
Only one 8-channel digital input or output bank
44.1 or 48 kHz) and an auxiliary pair (for channels
can be used, with sample rate conversion applied, 5-8 at 88.2 or 96 kHz). In ADAT optical clock
because the digital I/O banks only operate up to mode, the V4HD always resolves to the optical
96 kHz. With sample rate conversion, you can input in the main pair, even during 88.2 or 96 kHz
either capture or play back digital audio via ADAT operation. So be sure to connect the ADAT optical
optical, AES/EBU, embedded SDI or embedded clock master to the optical input in the main input
HDMI out at any sample rate from 44.1 kHz to connector.
96 kHz.
If the ADAT Optical setting does not appear in the
The headphone output is disabled.
menu, it means that the V4HDs optical input is
Clock Source currently disabled. Choose Enabled from the
The Clock Source determines what the V4HD will ADAT input menu (Figure 8-1 on page 72).
use as its time base for audio. The following
For further details about this setting, see Syncing
sections briefly discuss each clock source setting.
digital audio devices on page 29.
Video Clock
Word Clock In
When video is enabled (see Enable Video on
When video is disabled (see Enable Video on
page 50), the V4HD audio clock slaves to video,
page 50), the Word Clock In clock source setting
and this is the only choice in the Clock Source
refers to the Word Clock In BNC connector on the
menu.
V4HD rear panel. Choosing this setting allows the
73
MOTU AUDIO SETUP
V4HD to slave to an external word clock source, Other audio devices (drivers)
such as the word clock output from a digital mixer When video is disabled (see Enable Video on
or a digital audio interface. page 50), the MOTU FireWire Audio Driver has
the ability to resolve to other Core Audio drivers.
AES/EBU Doing so will ensure that audio streams playing
The AES/EBU clock source settings refer to the back from or recorded by the V4HD will not drift
AES/EBU input pairs on the V4HD. This setting apart from audio streams simultaneously played or
allows the V4HD to slave to another device recorded by the other devices.
connected to one of the V4HDs four
AES/EBU input pairs when video is disabled (see Default Stereo Input/Output
Enable Video on page 50). In the System Preferences window, Mac OS X lets
you choose third-party hardware such as the
Use this setting whenever you are recording input V4HD for your Mac sound input and output. The
from a DAT deck or other AES/EBU audio device system input and output can be used for alert
into the V4HD. It is not necessary in the opposite sounds and general audio I/O for applications like
direction (when you are transferring from the iTunes, iMovie, etc.
V4HD to the DAT machine).
SMPTE
When video is disabled (see Enable Video on
page 50), choose the SMPTE clock source setting
to resolve the V4HD directly to SMPTE time code
(LTC) being received via the LTC input. For details,
see chapter 10, MOTU SMPTE Setup (page 87).
Built-in audio
When video is disabled (see Enable Video on
page 50), choose this setting to resolve the V4HD
to your Macs built-in audio. Doing so will ensure
that audio streams playing back from or recorded
by the V4HD will not drift apart from audio
streams simultaneously played or recorded by the
Macs built-in mic, speakers or audio output.
Figure 8-2: The Mac OS X sound preferences let you use the V4HD for
general stereo audio input and output for your Mac.
74
MOTU AUDIO SETUP
The Default Stereo Input and Default Stereo Output explained below. The options in the menu change,
settings in MOTU Audio Setup (Figure 8-1 on depending on the V4HDs current Sample Rate
page 72) let you specify the stereo input and output setting (page 73). For example, if the V4HD is
on the V4HD to be used when it is chosen as the currently set to 192 kHz, youll see x 4 and 4
audio I/O device in the system preferences. settings that dont apply to the lower sample rates.
Analog Input/Output
The Analog Input/Output menus (Figure 8-1) let
you enable or disable the 8-channel analog bank.
Enable a bank to make it available to Final Cut Pro
or the V4HDs CueMix monitor mixer for audio
input or output. Disable it if you are not using it to
conserve FireWire bus bandwidth for video and
other data. Note that input and output can be
enabled or disabled independently.
AES/EBU Input/Output Figure 8-3: The Sample Rate Convert menu gives you access to a
The AES/EBU Input/Output menus (Figure 8-1) let variety of input and output clock options.
77
MOTU AUDIO SETUP
Figure 8-4: The Edit Channel Names window.
78
MOTU AUDIO SETUP
CHAPTER 9 CueMix FX
Talk/listen channels
Talk/listen enable
Master fader
Input mute/solo Master mute
Input volume Mix bus menu
Output level meter
Grow box
Input section
Figure 9-1: CueMix FX is a virtual mixer that gives you control over the V4HDs on-board mixing features.
79
CUEMIX MONITORING BENEFITS Viewing one mix at a time
CueMix FX provides several major benefits to your CueMix FX displays one mix at a time. To select
video post-production workflow: which mix you are viewing, choose the desired mix
bus from the Mix bus menu (Figure 9-1). Double-
CueMix has no buffer latency. Thanks to the click the name to change it.
V4HDs hardware-based mixing, CueMix provides
the same throughput performance as a digital Each mix is completely independent
mixer, so you can monitor audio as well as video Each mix has its own settings. Settings in one mix
during log and capture. will not affect another. For example, if an input is
used in one mix, it will still be available in other
CueMix imposes absolutely no processor drain
mixes. In addition, inputs can have a different
on the computers CPU.
volume, pan, mute and solo setting in each mix.
CueMix routing can be maintained
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CUEMIX FX
Master mute Width
The master mute button (Figure 9-1) temporarily Width spreads the left and right channels across the
disables (silences) the mix. stereo image, depending on the knob position.
Minimum value (turning the pan knob all the way
Output level meter down) maintains the original stereo image: the left
The Output level meter (Figure 9-1) shows you the channel goes entirely left and right goes entirely
output for the mixs physical output, which may right, without attenuation. The maximum value
include audio from your host audio software. The (turning the knob all the way up) inverts the signal,
clip indicators clear themselves after a few seconds. where the left channel goes all the way to the right
and vice versa. In between, the left out is a mixture
Input section
of the left input and some of the right input (and
The channel strips to the left of the master fader
vice-versa) with the effect of narrowing the field. At
represent each input in your V4HD. Use the input
zero, both the left and right outputs are an equal
scroll bar (Figure 9-1) to view additional inputs.
mixture of left and right.
Mono/stereo pairing
Click the Mono button (Figure 9-1) if you would Input mute/solo
To add an input to a mix, or remove it, click its
like an input to be treated as a mono channel. If you
MUTE button (Figure 9-1). To solo it, use its SOLO
would like to work with it as one channel of a
button. To toggle these buttons for a stereo pair,
linked stereo pair, click the Stereo button. Inputs
hold down the command key while clicking either
are grouped in odd/even pairs (Analog 1-2, 3-4,
channel. The Solo indicator LED (Figure 9-1)
etc.) Stereo pairs appear as a single channel strip in
lights up when any input is soloed (including
the CueMix FX mixer.
inputs that may currently be scrolled off-screen).
Naming an input
Click the input name at the top of the input channel Input fader
Use the input fader (Figure 9-1) to adjust the level
strip (Figure 9-1) to edit the name. Input names are
for the input in the mix. Note that an input can have
global across all mixes. This name also appears in
different level, pan, mute and solo settings for
host audio software on the computer (if the
different mixes. Input channel level meters are
software supports channel names).
post-fader.
Input pan
The input pan knob (Figure 9-1) pans the input SHORTCUTS
across the bus stereo outputs. If the input itself is Hold down the following modifier keys as
grouped as a stereo pair, two forms of panning shortcuts:
control are provided: Shortcut Result
Shift key Applies your action to all inputs in the mix.
Balance
Balance works like the balance knob on some Shift-Option Applies your action to all inputs and mixes.
radios: turn it left and the right channel dims, turn Command key Applies your action to the stereo input pair.
it right and left channel dims. But the left channel
Option key Applies your action to all busses.
always stays left and the right channel stays right.
Double-click Returns the control to its default value (pan
center, unity gain, etc.)
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CUEMIX FX
MESSAGE CENTER Talkback / Listenback mic input
The Message Center displays fly-over help for items Choose the audio input to which your Talkback
in the CueMix FX window. and/or Listenback mic is connected, as shown
below:
SOLO LIGHT
The Solo light (Figure 9-1) illuminates when any Talkback Listenback
input in the current (active) mix bus is soloed mic input mic input
(even if it is currently scrolled off-screen).
Hardware setup
Figure 9-2 below shows a typical hardware setup
for Talkback and Listenback. For Talkback, set up a
dedicated mic (with a preamp) in your control Figure 9-3: Specifying the talkback and listenback mic inputs. Use the
room and connect it to an input on the V4HD. For input fader for the chosen input to control the mic volume.
Figure 9-4: Routing the Talkback and Listenback mics to outputs. Peak/hold time
In CueMix FX, a peak indicator is a line
Engaging/disengaging Talkback and (representing a virtual LED) displayed in a level
Listenback meter that indicates the maximum signal level
To engage Talkback or Listenback, press on the
registered by the meter. The Peak/hold time setting
Talk or Listen buttons (Figure 9-3) and then release
(File menu) determines how long this indicator
to disengage. Talkback and/or Listenback is
remains visible before it disappears (or begins to
engaged for as long as you hold down the mouse
drop). To disable peak/hold indicators altogether,
button. Option-click to make the buttons sticky
choose Off from this sub-menu.
(stay engaged until you click them again so you
dont have to hold down the mouse). Or use the Mix1 Return Includes Computer
Talkback menu items. The Mix1 return includes computer output item in
the CueMix FX File menu refers to a feature that is
If you would like to engage both Talkback and available in other MOTU audio interface products.
Listenback at the same time, enable the Link button Therefore, this menu item is grayed out when you
(Figure 9-3). are working with the V4HD.
Controlling Talkback and Listenback volume Hardware follows CueMix Stereo Settings
To control the volume of the Talkback and/or The File menu has a checkable item called
Listenback mics, adjust their input fader in CueMix Hardware follows CueMix stereo settings. When this
FX. This fader controls the volume of the input, menu item is unchecked, you can make
regardless of which bus mix is being displayed in adjustments to stereo pairing using the front panel
the CueMix FX window. In other words, once an LCD on the V4HD itself.
input has been designated as a Talkback or
Listenback input, its fader becomes global for all EDIT MENU
CueMix buses.
Undo/Redo
CueMix FX supports multiple undo/redo. This
allows you to step backwards and forwards
through your actions in the software.
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CUEMIX FX
Copying & pasting (duplicating) entire mixes Here is a summary of Configurations menu
To copy and paste the settings from one mix to operations:
another:
Configurations
Menu item What it does
1 Select the source mix (Figure 9-1) and choose
Create New Lets you name and save a new configuration,
Copy from the Edit menu (or press command-C). which appears at the bottom of the Configura-
tions menu.
2 Choose the destination mix and choose Paste Save Overwrites the current configuration
from the Edit menu (or press command-V). (checked in the list at the bottom of the menu)
with the current settings in CueMix FX.
Clear Peaks Save To Same as Save above, except that it lets you first
choose the configuration you wish to save to
Choose Clear Peaks from the Edit menu to clear all (instead of the current one).
peak indicators in all CueMix FX meters.
Delete Lets you choose a configuration to perma-
nently remove from the menu.
DEVICES MENU
Import Loads all configurations from a configuration
If you are working with more than one MOTU file on disk.
audio interface product, this menu displays all
Export Saves all current configurations as a file on
interfaces that are currently on line. Choose any disk.
device from the menu to edit its settings using the
Configuration Choose any configuration to load it. The cur-
CueMix FX software. list rent (last loaded or saved) configuration has a
check mark next to it.
CONFIGURATIONS MENU
A configuration is just like a hardware preset (a Modifying a configuration
snapshot of all settings in CueMix FX and The name of the current configuration is displayed
therefore the V4HD hardware itself), except that it in the CueMix FX window title bar. If you make any
can be created and managed using the CueMix FX changes to the settings in CueMix FX, an asterisk
software on your computer, completely appears in front of the name to remind you that the
independently of the V4HD hardware. The current state of CueMix FX doesnt match the saved
commands in the Configurations menu let you configuration. If you wish to update the saved
create, save, load, import, export and otherwise configuration with the new changes, use the Save
manage as many configurations as you wish. command. To save the current state of CueMix FX
to another configuration, use Save To. To save as a
new, separate configuration, use Create New.
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CUEMIX FX
3 Type in a name, choose a preset slot and click not visible when you begin adjusting it. The same is
OK. true for the displayed mix: if you adjust a control in
a bus that is not currently being displayed, CueMix
Saving a hardware preset as a CueMix FX FX will jump to the appropriate mix to display the
configuration control you are adjusting.
To save a hardware preset as a CueMix FX configu-
ration: Share surfaces with other applications
When the Share surfaces with other applications
1 Choose File menu> Load Hardware Preset to menu command is checked, CueMix FX releases
make it the current active preset. the control surface when you switch to another
application. This allows you to control your other
2 Choose Configuration menu> Create New (or
software with the control surface. Heres a simple
Save To) to save it as a configuration.
way to understand this mode: the control surface
TALKBACK MENU will always control the front-most application. Just
Choose the commands in the Talkback menu to bring the desired application to the front (make it
engage or disengage Talkback or Listenback. Use the active application), and your control surface
the Configure Talkback/Listenback menu item to will control it. When youd like to make changes to
access the routing dialog shown in Figure 9-4 on CueMix FX from the control surface, just bring
page 83. CueMix FX to the front (make it the active
application).
PHONES MENU
The Phones menu allows you to choose what you When this menu item is unchecked, your control
will hear on the headphone output, just like the surface will affect CueMix FX all the time, even
Phones setting in MOTU Audio Setup. However, when CueMix FX is not the front-most application.
this menu provides one extra option that is In addition, you will not be able to control other
exclusive to CueMix FX: Follow Active Mix. This host software with the control surface at any time
menu item, when checked, causes the headphone (because CueMix FX retains control over it at all
output to mirror the output of the current mix times). This mode is useful when you do not need
being viewed in CueMix FX. For example, if you to use the control surface with any other software.
are currently viewing mix bus 3, the headphones
Mackie Control Surfaces
will mirror the mix bus 3 output (whatever it is
CueMix FX includes support for the following
assigned to).
control surface products:
CONTROL SURFACES MENU
Mackie Control
CueMix FX can be controlled from an automated
control surface such as the Mackie Control. Use Mackie HUI
the commands in the Control Surfaces menu to
Mackie Baby HUI
enable and configure this feature.
Use the sub-menu commands in the Mackie
Application follows control surface Control Surfaces menu item to turn on and
When checked, the Application follows control configure control surface support, as described
surface menu command makes the CueMix FX briefly below.
window scroll to the channel you are currently
adjusting with the control surface, if the channel is
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CUEMIX FX
Enabled Other HUI-compatible control surfaces
Check this menu item to turn on control surface Any control surface that has the ability to emulate a
operation of CueMix FX. Uncheck it to turn off HUI should be compatible with CueMix FX. Just
control surface support. add a Mackie HUI to Audio MIDI Setup and put
the control surface hardware into HUI emulation
Configure mode. Consult the control surface manual for
Choose this menu item to configure your control details about how put it into HUI emulation mode.
surface product. Launch the on-line help for
specific, detailed instructions for configuring Other control surface hardware products
CueMix FX for operation with your control surface If you install other control surface drivers written
product. for CueMix FX, they will appear as separate menu
items at the bottom of the Control Surfaces menu,
with the same sub-menu items described above.
Figure 9-5: Refer to the extensive on-line help for details about config-
uring CueMix FX for operation with your control surface product.
86
CUEMIX FX
CHAPTER 10 MOTU SMPTE Setup
87
MOTU SMPTE SETUP and 29.97 fps time code, or 23.976 fps and 24 fps.
The included MOTU SMPTE Setup software So if you are working with either of these rates,
provides a complete set of tools to generate SMPTE make sure you choose the correct rate from this
for striping, regenerating or slaving other devices menu.
to the computer when the V4HD is operating in
Audio Only mode (see Enable Video on page 50). READER SECTION
The Reader section (on the left-hand side of the
CLOCK/ADDRESS window in Figure 10-1) provides settings for
The Clock/Address menu (Figure 10-1) provides synchronizing the V4HD to SMPTE time code.
the same global Clock Source setting as in MOTU
Audio Setup (Clock Source on page 73), but it Status lights
includes additional information: each setting The four status lights (Tach, Clock, Address and
shows both the clock and the address (time code or Freewheel) give you feedback as follows.
sample location), separated by a forward slash ( / ).
Tach
To resolve the V4HD to SMPTE time code under
The Tach light blinks once per second when the
normal operation, choose the SMPTE / SMPTE
V4HD has successfully achieved lockup to SMPTE
setting in the Clock/Address menu. This means
time code and SMPTE frame locations are being
that the system will use time code as both the time
read.
base and the address.
Clock
FRAME RATE The Clock light glows continuously when the
This setting should be made to match the SMPTE
V4HD has successfully achieved lockup to an
time code frame rate of the time code that the
external time base, such as SMPTE time code.
system will be receiving. The V4HD can auto-
detect and switch to the incoming frame rate,
except that it cannot distinguish between 30 fps
The Reader section provides settings for The Generator section provides settings
resolving to video and/or SMPTE time code. for striping SMPTE time code.
Figure 10-1: SMPTE Setup gives you access to your V4HDs on-board SMPTE time code synchronization features.
88
MOTU SMPTE SETUP
Address The Infinite freewheel setting
The Address light glows continuously when the The Infinite freewheel setting in the Freewheel
V4HD has successfully achieved lockup to SMPTE Address menu causes the V4HD to freewheel
time code. indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheel
Freewheel button.
The Freewheel light illuminates when the V4HD is
freewheeling address (time code), clock or both. Freewheel clock
For details about Freewheeling, see Freewheel Freewheeling occurs when there is a glitch or
Address and Freewheel clock below. drop-out in the incoming SMPTE time code for
some reason. The V4HD can freewheel past the
SMPTE source drop-out and then resume lockup again as soon as
Choose SMPTE, or the analog input to which the it receives a stable, readable clock signal.
SMPTE time code source is connected. This is the
input that the V4HD listens to for time code. The V4HD cannot freewheel address without
clock. Therefore, the Freewheel Address setting will
Freewheel Address always be lower than or equal to the Freewheel
Freewheeling occurs when there is a glitch or Clock setting, and both menus will update as
drop-out in the incoming time code for some needed, depending on what you choose.
reason. The V4HD can freewheel past the drop-out
and then resume lockup again as soon as it receives The Infinite freewheel setting
readable time code. Choose the amount of time The Infinite freewheel setting in the Freewheel
you would like the V4HD to freewheel before it Clock menu causes the V4HD to freewheel
gives up and stops altogether. indefinitely, until it receives readable time code
again. To make it stop, click the Stop Freewheel
The V4HD cannot freewheel address without button.
clock. Therefore, the Freewheel Address setting will
always be lower than or equal to the Freewheel Stop Freewheel
Clock setting, and both menus will update as The Stop Freewheel button stops the system if it is
needed, depending on what you choose. currently freewheeling.
89
MOTU SMPTE SETUP
Stripe
Click this button to start or stop time code. To set
the start time, click directly on the SMPTE time
code display in the Generator section and type in
the desired start time. Or drag vertically on the
numbers.
Regenerate
This option, when enabled, causes the generator to
generate time code whenever the V4HD is
receiving SMPTE time code.
90
MOTU SMPTE SETUP
Part 4
Standalone
Operation
CHAPTER 11 Standalone Operation
The V4HD can operate as a standalone video and Other video settings
audio distributor and converter. It can also operate After choosing the video source above, press the
as a standalone digital audio mixer. left/right PAGE buttons to access additional video
settings, such as specifying the HD output format.
Enabling standalone mode . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Front panel programming . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Sync and time code settings
Standalone video conversion. . . . . . . . . . . . . . . . . . . . . . . . 94 To access sync and time code settings:
Audio only mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
1 Press the MENU button repeatedly until you see
ENABLING STANDALONE MODE the V4HD SETUP menu.
To put the V4HD in Standalone mode, unplug its
FireWire cable connection to the computer, or turn 2 Press the left/right PAGE buttons to access the
off the computer. Standalone mode is very similar time code settings:
to Convert mode: no video goes to FireWire or the
computer because it is disconnected, but the Input Timecode on page 102
currently selected video source is converted, if Output Timecode on page 102
necessary, and distributed to all other V4HD video
outputs. SDI Out TC Format on page 102
93
STANDALONE VIDEO CONVERSION AUDIO ONLY MODE
The V4HD provides hardware-based conversion To put the V4HD into Audio only mode:
features, which you can employ during standalone
operation. Here are a few examples: 1 Press the MENU button repeatedly until you see
the V4HD SETUP menu.
You could up-convert SD to HD in the V4HD
hardware and then distribute it to all HD outputs. 2 Press the left/right PAGE buttons to access the
Or you could down-convert HD to SD and AV Mode setting.
distribute it to all SD outputs.
3 Turn the VALUE knob to choose Audio Only.
You could connect a 23.976 fps input signal,
insert pull-down to 29.97 fps and send this signal 4 Push the VALUE knob to confirm your choice.
to all SD and HD outputs.
This turns the V4HD into standalone 24-channel,
As demonstrated below in Figure 11-1, you 12-bus audio mixer (16 channels and 4 busses at
could choose SD component (in YPbPr format) as the 4x sample rates). To control the mixer from the
your input source and distribute this input signal to front panel LCD, see CueMix Menu on page 99.
all SD outputs on the V4HD. At the same time, you
could also be converting it to 720p or 1080p 23.976
with 14:9 pillar box formatting on all of the V4HDs
HD outputs.
These are just a few examples. There are many
possible conversion scenarios.
Conversion settings
You can program the V4HDs conversion settings
using the front panel LCD. You can also use the
Capture/Convert Signal Path settings in the
MOTU Video Setup software beforehand, and then
disconnect the computer. The Capture/Convert
settings you make in the software are remembered
and remain in effect during standalone operation.
Figure 11-1: An example of standalone hardware distribution and conversion. The V4HD source input is set to SD
component YPbPr. The V4HD hardware is distributing this input signal to all outputs and simultaneously converting
it to 1080p23.976 with 14:9 pillar box formatting for HD output.
94
STANDALONE OPERATION
CHAPTER 12 Front Panel LCD Programming
Video Status LEDs Genlock Multi-function LCD Video STATUS LCD programming
LEDs display button
95
VIDEO STATUS SIGNAL
The VIDEO STATUS section (Figure 12-1) The LEDs in the SIGNAL bank (Figure 12-2)
provides quick feedback regarding the V4HDs represent the various video inputs and outputs on
current video operation. It is divided into the the V4HD. FireWire is viewed as another input or
following banks of LEDs: MODE, SIGNAL, output, depending on whether the V4HD is
FORMAT, RATE and Genlock (Figure 12-2): capturing or playing back.
96
FRONT PANEL LCD PROGRAMMING
RATE MULTI-FUNCTION LCD DISPLAY
The LEDs in the RATE bank (Figure 12-2) indicate The V4HDs multi-function LCD display
the frame rate for the currently selected signal in (Figure 12-1) gives you access to the V4HDs many
the SIGNAL bank. powerful features. You can use the display when the
V4HD is connected to the computer and operating
GENLOCK as a video (or audio) interface, and you can also use
The LEDs in the Genlock bank (Figure 12-2) it when the V4HD is not connected to the
indicate the input format to which the V4HD has computer and is instead operating as a stand-alone
successfully achieved genlock. It also indicates the converter (or audio mixer).
format for the currently selected output in the
SIGNAL bank. If you are viewing all formats in the Making settings from the LCD versus the
SIGNAL bank (Figure 12-3), the Genlock bank software console
will display the SD and HD formats that the V4HD If the V4HD is currently connected to a computer,
is genlocking to and generating. some settings must be made from the V4HDs
console software applications on the computer. In
Flashing LEDs this case, when you try to make a setting in the
When LEDs flash in the VIDEO STATUS section, it LCD, youll see a message that says Please use
means that the V4HD has not yet successfully computer.
established genlock. Once genlock is achieved, the
LEDs stop flashing. The MENU, PAGE and CURS (cursor) buttons
Use the MENU, PAGE and CURS (cursor) buttons
Blinking LEDs (Figure 12-1) to navigate the menus in the LCD
The Auto Detect Input Format menu in the MOTU display, as explained in the following sections.
Video Setup software Setup tab (Figure 6-19 on
page 48) lets you choose the degree to which the Push the MENU button repeatedly to access the
V4HD will automatically detect the video format four main menus:
for the currently chosen video source (Figure 6-3).
If you choose the Manual option from this menu, V4HD Setup
you specify the format using the menus in the Video
signal path, as explained in Manual on page 48.
In this situation, the Genlock LEDs will blink every Audio
second or so to indicate that no auto-detection is CueMix
occurring and than the setting has been specified
manually. Use the left/right PAGE buttons to access the
various settings in each menu.
HDMI Mode
This is the setting described in HDMI/DVI on
page 46.
NTSC Setup
This is the setting described in 480i Setup on
page 50.
Figure 12-4: For many settings, the LCD zooms in on the setting as
you adjust it. 480i Component
This is the setting described in 480i Component
VIDEO MENU
Analog Format on page 49.
Press the MENU button repeatedly to access the
Video menu. The Video menu gives you access to
Legalizer NTSC (or PAL)
the many video-related settings in the V4HD, as This is the setting described in 480i Broadcast
described briefly below. Legalizer on page 51 and 576i Broadcast
Legalizer on page 51.
98
FRONT PANEL LCD PROGRAMMING
AUDIO MENU ADAT Type
Press the MENU button repeatedly to access the The ADAT Type settings is a parameter that can
Audio menu. The Audio menu gives you access to only be made from the V4HD front panel LCD.
the many audio-related settings in the V4HD, as This setting lets you change the V4HDs 2x optical
described briefly below. input and output (88.2 or 96kHz) to Type I (for 2x
optical connection to SMUX-compatible
Clock Source products) or Type II (for 2x optical connection to
This is the setting described in Clock Source on MOTU products). Turn the VALUE knob to switch
page 73. between Type I and II, respectively, and then push
the knob to confirm your choice.
Sample Rate
This is the setting described in Sample Rate on Additional Delay
page 73. This is the setting described in Additional Audio
Delay on page 76.
Word Clock Out
This is the setting described in Word Out on Sync Cuemix
page 77. This is the setting described in Sync CueMix
audio with video output on page 77.
Bank Enable
This is the setting described in Analog Input/ CUEMIX MENU
Output, AES/EBU Input/Output, ADAT Press the MENU button repeatedly to access the
Optical Input/Output and SDI Input and SDI/ CueMix menu. The CueMix menu gives you access
HDMI Output on page 75. Turn the VALUE knob to the V4HDs built-in 32 channel, 16-bus monitor
to scroll through each of the four banks, and push mixer (or 8 channels and 4 busses at the 4x sample
the knob to toggle the enable state for each bank rates).
(y = yes = enabled; n = no = disabled).
Working with the mixer is much more intuitive
This setting can only be changed in the front using the graphic faders and knobs in the CueMix
panel LCD when the V4HD is in stand-alone mode FX software described in chapter 9, CueMix FX
(not connected to the computer), as explained in (page 79). But this menu lets you control these
Making settings from the LCD versus the software features in situations where you do not have a
console on page 97. computer connected.
Rate Convert For a complete explanation of the V4HDs CueMix
This is the setting described in Sample Rate monitor mixer, see chapter 9, CueMix FX
Convert on page 75. (page 79). Once you have read this chapter, the
controls described below will make a lot more
Meter Mode
This is the setting described in Programmable sense.
Meters on page 77.
Phones Assign
This is the setting described in Phones on
page 75.
99
FRONT PANEL LCD PROGRAMMING
Navigating CueMix parameters in the LCD Mix parameters
The CueMix mixer has the following layout in the Mix parameters are settings such as channel
LCD display: volume (gain), pan, mute/solo, etc. To access the
mix parameters for the currently displayed bank,
press the left/right PAGE buttons until the Mix
Mix bus
parameter (Figure 12-5) flashes and then turn the
VALUE knob to choose the desired parameter. You
can then modify that setting for each individual
input channel, as explained in the next section.
Channel Settings
A channel setting is an individual input channels
setting for volume (gain), pan, mute/solo, etc. To
access a channels current setting for the currently
displayed mix parameter, press the left/right PAGE
Input Bank Mix parameter Channel settings buttons until one of the Channel Settings
(Figure 12-5) flashes. Use the left/right CURSOR
Figure 12-5: Navigating the CueMix mixer in the LCD display.
buttons to move among the 8 displayed channels
Use the left/right PAGE buttons to proceed through (for the currently chosen Input Bank as shown in
each CueMix parameter as described in the Figure 12-5), and then turn the VALUE knob to
following sections. When a parameter flashes, use adjust the value or setting for the parameter. Mix
the VALUE knob to access a different bus, parameters are explained briefly below:
parameter, etc. Use the CURSOR buttons to
navigate through the eight channel settings Mix
parameter Range Comments
(Figure 12-5).
Gain OFF, Each channel displays a small fader.
-84 to 0 dB Push the VALUE knob to toggle
Choosing a bus to work with between OFF and unity gain (0dB).
CueMix provides a separate mix bus for each of the Pan -64 to +64 Push the VALUE knob to jump to pan
V4HDs 16 output pairs. Busses are identified by center. Stereo pairs (explained below)
Zero = pan are panned hard left/right by default.
their output pair destination. To access a mix bus, center
press the left/right PAGE buttons until the Mix bus Solo s or Push the VALUE knob to toggle
parameter (Figure 12-5) flashes. Turn the VALUE blank between soloed (S) and not soloed
(blank), or turn the knob to toggle.
knob to choose the desired bus.
Mute m or Push the VALUE knob to toggle
blank between muted (m) and unmuted
Input Bank (blank), or turn the knob to toggle.
To access an input bank, press the left/right PAGE
Pair [ ] or This setting applies universally across
buttons until the Input Bank (Figure 12-5) flashes blank ALL mixes. Push the VALUE knob to
toggle a stereo input pair between sep-
and then turn the VALUE knob to choose the arate mono inputs (blank) or a stereo
desired input bank. NOTE: only banks that are pair ([ ]). Or turn the knob to toggle.
When a pair of inputs are linked, all of
currently enabled (as shown in Figure 8-1 on their mix settings become linked (gain,
solo, etc.) When the pair is first created,
page 72) will appear as choices when you turn the pan is set to hard left and hard right,
but the channels can then be further
knob. In stand-alone mode, you can enable or modified independently. When a pair
disable banks using the front panel LCD as is unlinked, the channels are set to pan-
center.
explained in Bank Enable on page 99.
100
FRONT PANEL LCD PROGRAMMING
Bus level Paste Bus Mix
The bus level is the overall volume for the bus After you copy mix settings (explained above),
output pair. To access bus level, press the left/right Paste Bus Mix lets you paste the copied mix settings
PAGE buttons until you see Bus Level displayed in to another mix. Turn the VALUE knob to choose a
the top row of the LCD (Figure 12-6). The current mix. Push VALUE to paste. The word Pasted
bus is displayed in the bottom row. To choose a appears briefly to confirm the paste. The following
different bus, press the left/right CURSOR buttons. mix parameter are included in the paste operation:
To adjust the overall output volume for the bus, Gain, Pan, Solo, Mute and stereo pairing. The
turn the VALUE knob. following mix parameters are not pasted: Bus
output, Bus mute and Bus gain.
Save/Name Preset
The Save/Name Preset setting lets you name and
save up to four separate V4HD presets. A preset
holds all of the current CueMix DSP mix settings
for all 16 mix busses. Setup parameters are not
included. The name can have up to 12 characters.
Here is a summary of how to name and save a
Figure 12-6: Bus level and additional bus settings.
preset:
Additional bus settings
You can adjust additional bus settings using the To do this: Do this:
same basic technique as described above for bus To change the currently flashing Turn the VALUE knob
character
level. Additional settings include the following:
To move to a different character Press the CURSOR buttons.
Bus Mute To save the preset Push the VALUE knob. If you
The Bus Mute setting lets you temporarily silence are asked to replace existing pre-
set, push VALUE again to
the bus output pair. replace it, or turn it to select a
different preset.
101
FRONT PANEL LCD PROGRAMMING
V4HD SETUP MENU Main Volume Ctl (Control)
Press the MENU button repeatedly to access the The Main Volume Control setting can only be
V4HD Setup menu. This menu gives you access to changed from the V4HD front panel LCD. This lets
several important global settings in the V4HD, as you choose which audio output pairs on the V4HD
described briefly below. are controlled using the front panel main volume
knob (as explained in The PHONES knob on
AV Mode page 98). For example, you could enable analog
This is the setting described in Enable Video on outs 1-2, which might be connected to a pair of
page 50. powered speakers. Or you could enable analog outs
1-2, 3-4 and 5-6. This would allow you to have
LCD Contrast
main out volume control for a 5.1 surround mix,
LCD Contrast lets you adjust the contrast of the
using the PHONES knob on the front panel of the
front panel LCD display (Figure 12-1).
V4HD.
Input Timecode
The V4HD has 16 output pairs (32 channels total).
This is the setting described in Timecode Source
Turn the VALUE knob to scroll through all 16
on page 49.
output pairs (four in each 8-channel bank). Push
Output Timecode the VALUE knob to include it (y = yes = include) or
This is the setting described in Timecode exclude it (n = no = exclude).
Destination on page 50.
Factory Defaults
SDI Out TC Format The Factory Defaults setting can only be accessed
This is the setting described in SDI Output from the V4HD front panel LCD. The Factory
Timecode Format on page 49. Defaults setting restores the V4HD factory settings.
Push VALUE to initiate the operation. When the
LCD asks Are you sure?, push VALUE to complete
the operation.
102
FRONT PANEL LCD PROGRAMMING
Part 5
Appendices
APPENDIX A Troubleshooting
I see the following error message in Final Cut Pro: Unplug your FireWire A connection to the
Unable to locate external device. Why? computer and switch to a FireWire B connection.
If you see the error message below when operating
the V4HD with Final Cut Pro, it means that Final Connecting or powering gear during operation
Cut Pro has lost communication with the V4HD It is not recommended that you connect/
hardware. Check your V4HD hardware and cable disconnect, or power on/off devices connected to
connections. the V4HD while recording or playing back audio.
Doing so may cause a brief glitch in the audio.
other than None. Choose HD-SDI or SD-SDI to of the V4HD with which you are having trouble.
output the desired time code format from LTC out
Mac OS X version information.
of the V4HD.
Were not able to solve every problem immediately,
I hear clicks and pops on audio from an external but a quick call to us may yield a suggestion for a
SDI device.
problem which you might otherwise spend hours
Make sure your Video Source is set to SD- or
trying to track down.
HD-SDI for V4HD to establish sync.
If you have features or ideas you would like to see
CUSTOMER SERVICE
implemented, wed like to hear from you. Please
We are happy to provide customer service to our
write to the V4HD Development Team, MOTU
registered users. If you havent already done so,
Inc., 1280 Massachusetts Avenue, Cambridge, MA
please take a moment to register on line at
02138.
motu.com/register, or fill out and mail the
106
APPENDIX A: TROUBLESHOOTING
APPENDIX B Video Formats
VIDEO INPUT AND OUTPUT FORMATS FINAL CUT PRO VIDEO FORMATS
The V4HD supports the following video input and The V4HD can play back the following video
output formats: formats from Final Cut Pro:
SD SD
480i29.97 (NTSC) Uncompressed 8-bit and 10-bit at 480p23.976,
1080i25
1080i29.97
1080i30
107
108
APPENDIX B: VIDEO FORMATS
APPENDIX C V4HD Specifications
1 x HD-SDI in and out (4:2:2 10-bit) on direct connection without a breakout cable
independent BNC connectors
8-channel HD-SDI and SD-SDI embedded
1 x SD-SDI in and out (4:2:2 10-bit) on audio in/out, 24-bit at 44.1 or 48kHz
independent BNC connectors
8-channel HDMI embedded audio output, 24-
rates up to 96kHz
109
Audio delay compensation both fully Video status LEDs provide quick access to
automated and programmable controls ensure that capture/playback settings for each video format.
audio always remains perfectly in sync with
Time code display provides frame-accurate
picture.
time code readout when converting or generating
Audio only mode operates as a 24 channel time code, or during playback from host software.
cross-platform audio interface.
INCLUDED SOFTWARE AND
Stand-alone operation mix and monitor COMPATIBILITY
audio with no computer connected. Includes MOTU Video Setup software
supply
110
APPENDIX C: V4HD SPECIFICATIONS
APPENDIX D DB25 to XLR Pin Outs
111
DB25 TO 8 FEMALE (IN) OR MALE (OUT) XLR DB25 TO 4 FEMALE (IN) / 4 MALE (OUT) XLR
For balanced V4HD analog input or output For bi-directional V4HD AES/EBU digital I/O
Panasonic/Tascam standard Panasonic/Tascam standard
5 SG 5 SG
8 SG 8 SG
11 SG 11 SG
16 SG 16 SG
19 SG 19 SG
22 SG 22 SG
25 SG 25 SG
112
APPENDIX D: DB25 TO XLR PIN OUTS
Index
2 75
4 75, 76
synchronization 29, 30, 50
Analog C
1080 audio breakout cables 24, 111 Cables
playback settings 42 audio connectors 24 breakout 24, 25, 111
1080i29.97 48 connectors 8 Cadence (pull-down) 47
1080i50 67, 107 enable/disable 11 Camcorders
1080i60 67, 107 in/out 1-8 24 connecting 23
1080PsF29.97 49 input meters 7 Camera
1394 connector 8, 19, 20, 21 Input/Output menus 75, 99 connecting via HD-SDI 23
14:9 letterbox format 44 metering 7 Capture
14:9 pillar box format 46 output metering 7 LED 96
192kHz operation 73 video connectors 8 supported video formats 67, 107
sample rate conversion 31 Anamorphic format 45, 46 Capture mode 37, 38
2:3 pull-down 47 Apple ProRes 13, 19 settings 42, 43
2:3:3:2 pull-down 47 Apple ProRes 422 49, 59 signal path 43
29.97 drop/non-drop 54 Application follows control surface 85 Chroma 51, 98
400 M/bit FireWire 8, 19, 20, 21 Audio Clear Peaks 84
480i ADAT optical connections 25 Clipping 7
Broadcast Legalizer menu 51, 98 AES/EBU connections 25 Clock
component 22 analog connections 24 192kHz operation 73
Component Analog Format option bit resolution 73 source 11, 53, 73, 99
49, 98 capture in Final Cut Pro 65 status LEDs 7
playback settings 42 connections 26 Codec Missing message 52, 105
Setup option 50, 98 connectors 24 Codecs
576i delay 76, 99 other 60
Broadcast Legalizer menu 51, 98 digital audio sync 29 supported 59
playback settings 42 digital mixer 25 Component 21, 22
5-8@96K 25 features 37 analog format options 22, 49, 98
720p Final Cut Pro settings 64 connectors 8
playback settings 42 latency 76, 99 output color mode settings 51, 98
75 TERM 8, 27 menu (LCD display) 99 RGB 22
800 M/bit FireWire 8, 19, 20, 21 monitoring 26 YPbPr 22
930/950mV options 51, 98 only LED 96 Composite
96kHz operation only mode 37, 39, 94 connectors 8, 21
ADAT optical 25 enabling 50, 73, 102 example 23
AES/EBU 25 sync 30 LED 96
sample rate conversion 31 overview 37 Compressed LED 96
word clock 28 playback from Final Cut Pro 66 Computer
9-pin sample rate conversion 25, 26, 31, 75, connecting the V4HD 8, 19, 20, 21
connector 8, 28 99 Configurations menu 84
word clock 8, 27, 28 Configure Talkback/Listenback 85
A Audio Setup software Contrast option 55
Control surface support 85
ADAT optical installing 33
Auto Detect Input Format menu 46, 48, 52, Conversion
clock source setting 73
97, 98 14:9 letterbox format 44
connecting 25
Format and Genlock 49, 52 14:9 pillar box format 46
connectors 8
Genlock 48 anamorphic format 45, 46
enable/disable 11
Manual 48 deinterlacing 54
Input/Output menus 75, 99
diagram 42, 43
metering 7
synchronization 29, 30, 50 B Final Cut Pro 63, 94
full screen format 45, 46
Type I, II optical mode 8, 26, 99 Balance 81
letterbox format 44
ADAT type 8, 26, 99 Bandwidth error 67, 105
menu 42, 43, 44, 45, 98
Additional Audio Delay option 11, 76, 99 Batch Capture 8
pillar box format 45
AES In option (sample rate conversion) 75 Bi-level sync 53
pull-down insertion/removal 47
AES/EBU Blackburst 53
settings 42, 43
breakout cable 25 BNC cables for SDI 22
up conversion 45, 98
clock source setting 74 Breakout cables 24, 25, 111
Convert
connections 25 Brightness option 55
LED 96
connectors 8 Broadcast Legalizer menu 51, 98
tab 54
enable/disable 11 Broadcast monitor
Convert mode 37, 38
in/out 1-8 25 connecting 23
settings 42, 43
Input/Output menus 75, 99 Built-in audio (clock source setting) 74
signal path 43
metering 7 Bus Mute 101
Copy bus mix 101
113
I N D EX
Copy/Paste 84
CueMix E Print to Video 66
Refresh A/V Devices option 66
adjusting bus levels 7 Easy Setups 58 Sequence presets 58
delay compensation 76 installing 33 supported video formats 67, 107
menu (LCD display) 99 EBU N10 49 synchronization during playback 53
CueMix FX 79-86 Edit Channel Names 11, 77 time code offset 54
Application follows control surface Edit to Tape 8, 66 time code settings 66
85 Embedded troubleshooting 105
Configurations menu 84 sync setting 102 video playback 58
connections 26 time code 49, 102 FireWire 7, 8
Devices menu 84 Embedded audio 400 vs. 800 59
Edit Channel Names 11 HDMI 8, 22 800/400 HQ settings 49
Edit menu 83 metering 7 bandwidth error 67, 105
File menu 83 SDI input 75, 99 connector 8, 19, 20, 21
installing 33 SDI/HDMI output 75, 99 daisy-chaining 19
Listenback explained 82 Enable Video option 50, 73, 102 I/O 37
Mackie control surfaces 85 in signal path diagram 47
Phones menu 85 F installing drivers 33
Share surfaces with other applica- Factory Defaults 102 LED 96
tions 85 Fan 8 PCI adaptors 19
Talkback menu 85 FCP MOTU RT Enabler.txt 33 Firmware update 8
talkback settings 82 Field 1/2 options 54 Follow Active Mix 85
CURS (cursor) button 7, 97 File menu Force 1x word out rate 28, 77
Customer support 106 Clear Peaks 84 Format and Genlock option 46, 49, 52
Copy/Paste 84 Format conversion
D Hardware Follows CueMix Stereo
Settings 83
14:9 letterbox format 44
Daisy-chain 8 14:9 pillar box format 46
FireWire 19 Load Hardware Preset 83 anamorphic format 45, 46
video ref 8, 27 Peak Hold Time 83 diagram 42, 43
DB25 connectors Save Hardware Preset 83 full screen format 45, 46
AES/EBU 8 undo/redo 83 letterbox format 44
analog 8 Film menu 42, 43, 44, 45, 98
DB25 XLR cables 24, 25, 111 14:9 letterbox format 44 pillar box format 45
DDS 13 14:9 pillar box format 46 up conversion 45, 98
Default Stereo Input/Output 11, 74 anamorphic format 45, 46 FORMAT LEDs 7, 96
Deinterlacing 54 full screen format 45, 46 Frame rate
Detect Pull-down option 55 letterbox format 44 playback 43, 50, 54
Device control 66 pillar box format 45 Freewheel
Devices menu 55, 84 Final Cut Pro 57-67 address 89
Digital audio audio 37 clock 89
phase lock 29 audio capture 65 infinite 89
synchronization 30 audio playback 58, 66 Front panel 7, 95
Digital mixer audio settings 64 programming 39, 93
connecting 25 Audio/Video Settings 58 Full Raster
example 26 Batch Capture 8 capture preset 49, 59, 60
synchronizing 30 capture 37, 38 mode 49, 59, 60
Direct Digital Synthesis 13 capture presets 58 Full Screen format 45, 46
DLP display capture settings 60
connecting 8 conversion 63, 94
device control 66
G
Dock icon 11 Gain 100
Drivers device control presets 58 General tab 11, 72
installing FireWire drivers 33 easy setups 33, 58 Generate from sequencer 90
DVCPro 13, 59 Edit to Tape 8, 66 Genlock
supported formats 67, 107 frame rate 43, 50, 54 Auto Detect Input Format menu 46,
DVD Player installing drivers & easy setups 33 48
connecting 23 Log and capture 61 LED (video Setup software) 9, 41, 52,
DVI machine control 66 53, 55
cable requirements 22 machine control connector 8, 28 LEDs (front panel) 7, 97
connector 8, 22 monitoring 62 troubleshooting 105
output 22 playback 37, 38, 62
output menu 42, 43, 46, 98 playback settings in V4HD hard-
ware 53
H
Hardware Follows CueMix Stereo Settings
preparation 57
83
114
I N D E X
HD Internal (sync setting) 29, 53, 73 MOTU Audio Setup 71, 71-78
14:9 pillar box format 46 IRE 51, 98 Edit Channel Names 77
anamorphic format 46 iTunes installing 33
camera 23 audio input/output 74 opening 71, 78
component connectors 8 quick reference 11
Component Output Color Mode J MOTU Easy Setups 58
settings 22, 51, 98 Japan (0.0%) option 50 installing 33
destinations 42, 43, 46 MOTU SMPTE Setup 87-90
full screen format 46
Out LED 96
L installing 33
MOTU Video Console
Latency 76, 99
output format 42, 43, 46, 49 Launch MOTU Audio Setup when hard- Output tab 51
pillar box format 45 ware becomes available option Playback tab 53
pull-down insertion/removal 47 11, 77 MOTU Video Setup 41-55
reference monitor 23 LCD display 97-102 Convert tab 54
reference monitor example 23 contrast 102 Devices menu 55
signal path 42, 43, 53 example 23 Genlock LED 9, 41, 52, 53, 55
supported formats 67, 107 programming 97 Input tab 55
tri-level sync 8, 27, 53 standalone mode programming 39, installing 33
up conversion to 45, 98 93 Preview tab 52
HDMI Letterbox format 44 quick reference 9
audio enable/disable 11 Lightpipe Setup tab 48, 51
connector 8, 22 2x mode 8, 26, 99 tabs 48
DVI output 22 connections 25 MOTUFirewireAudio.kext 33
embedded audio 22 connectors 8 MOTUFireWireVideoConfig.kext 33
LED 96 Listenback MOTUVOut.component 33
output menu 42, 43, 46, 98 button 79, 83 Mute 100
Output Source setting 47, 51, 98 explained 82
SDI/HDMI Output menu 75, 99 Load Hardware Preset 83 N
HD-SDI Load Preset 101 None/Weave deinterlacing option 55
audio enable/disable 11 Log and capture 61 NTSC 21
audio metering 7 LTC broadcast legalizer settings 51, 98
BNC cable specs 22 connectors 8 Component Analog Format 49, 98
connectors 8, 22 output format 50, 102
LED 96
reference monitor 23
output format option 49, 102 O
sync setting 49, 102 Offset 54
time code destination option 50, 102 Luma 51, 98 Optical
VTR input 23 2x mode 8, 26, 99
Headphone jack 7
Headphones 7
M connectors 8, 25
Mac OS X Input/Output menus 75, 99
controlling output 75, 99 software installation 33 metering 7
Heat sound input/output 11, 74 Type I, II optical mode 8, 26, 99
controlling 8 system requirements 17 Output tab 51
House sync 53 Machine control 66 Over LEDs 7
Hue option 55 connector 8, 28
I Mackie control surfaces 85 P
Main Volume Ctl (Control) setting 102 Packing list 17
iMovie Manual (Auto Detect Input Format) 46, 48 PAGE button 7, 97
audio input/output 74 MENU button 7, 97 Pair 100
Infinite freewheel 89 Meters PAL 21
Init Bus Mix 101 programmable 7 broadcast legalizer settings 51, 98
Input Mix1 return includes computer 83 Pan 100
LED 96 Mixer Panasonic MII option 22, 49
Input level meters 7 connecting 25 Paste 84
Input tab 55 example 26 Paste Bus Mix 101
Inputs synchronizing 30 Peak Hold Time 83
naming 81 MODE LEDs 7, 37, 96 Phase lock 29
pan 81 Monitor Level knob 7 Phones 7, 75, 99
Installation Monitoring knob 7, 98
Easy Setups 33 Final Cut Pro 62 menu 85
hardware 19 Monitors Pillar box format 45
software 33 connecting 26 Pin outs for DB25 XLRs 111
Interlace Pause Mode 54 Mono button 81 Plasma display
Interlaced Field When Paused options 54 Motion Adaptive Deinterlacing option 54 connecting 8
115
I N D EX
example 23 Save Hardware Preset 83 SMPTE Setup 87-90
Playback 37, 38 Save/Name Preset 101 installing 33
29.97 fps Timecode option 54 SD SMPTE/EBU N10 22
audio from Final Cut Pro 66 14:9 letterbox format 44 Soft option (Broadcast Legalizer) 51, 98
clock source 53 anamorphic format 45 Solo 100
Clock Source menu 53 bi-level sync 53 light 82
Final Cut Pro 62 camcorder 23 Sony
frame rate 43, 50, 54 component 21, 22 9-pin connector 8, 28
LED 96 component connectors 8 9-pin setup in Final Cut Pro 66
only mode 37, 38 Component Output Color Mode 9-pin sync option 49, 102
clock source 53 settings 22, 51, 98 Beta Japan option 22, 49
settings 42, 43 composite 23 Beta option 22, 49
signal path diagram 42, 53 deinterlacing 54 Source
supported video formats 67, 107 destinations 42, 43, 46 LEDs 7
tab 53 disabled 46, 106 Speakers
Timecode Offset options 54 down conversion 63, 94 connecting 26
Please use computer 97 full screen format 45 SRC 25, 26, 31, 75, 99
Power supply 8 letterbox format 44 Standalone
Premiere Pro monitor 23 mode 37, 39, 93
audio 37 Out LED 96 LED 96
Preview Format option 47 output format 42, 43, 46, 49 operation 95
Preview tab 52 pull-down insertion/removal 47 STATUS button 7, 96
Print to Video 66 signal path 42, 43, 53 Stereo button 81
Programmable meters 7, 11 supported formats 67, 107 Stop Freewheel 89
option 77, 99 uncompressed 67, 107 Stripe button 90
ProRes 13, 19 up conversion 45, 98 S-video
ProRes 422 49, 59 video deck 23 connectors 8, 21
Pull-down VITC timecode dest option 50 examples 23
cadence 47 VITC timecode source option 49 LED 96
conversion summary 47 SDI Sync CueMix audio with video output op-
explained 47 audio enable/disable 11 tion 11, 76, 77, 99
insertion 47 audio metering 7 Synchronization
menu 42, 47 BNC cable specs 22 digital audio 29, 30
removal 47 connectors 8, 22 phase lock 29
HD-SDI example 23 playback clock source 53
Q Input menu 75, 99 sample rate conversion 25, 26, 31, 75,
Quick reference Output Timecode Format menu 49 99
MOTU Audio Setup 11 SDI/HDMI Output menu 75, 99 video 8, 27
MOTU Video Setup 9 SD-SDI example 23 System preferences
Timecode Output Format menu 102 sound input/output 11, 74
R SD-SDI
audio enable/disable 11
System requirements
minimum 17
RATE LEDs 7, 97
REF in Bi-level/Tri-level options 53 audio metering 7 recommended computer 17
Reference monitor BNC cable specs 22
connecting 23 connectors 8, 22 T
Refresh A/V Devices 66 example 23 TACH
Regenerate 90 LED 96 light (SMPTE Console) 88
Registration 17 time code destination option 50, 102 Talkback
Reverse pull-down 47 Selected Input option 53 button 79, 83
RGB 22, 51, 98 Setup tab 48, 51 explained 82
LEDs 96 Share surfaces with other applications 85 menu 83, 85
RS-422 SIGNAL LEDs 7, 96 Technical support 106
connector 8, 28 Signal path diagram 42, 53 Termination
setup in Final Cut Pro 66 HDMI output source (SD or HD) video ref 8, 27
sync option 49, 102 51, 98 Thru
Single Field option 54 video ref 8, 27
S SMPTE
clock source setting 74
word clock 8, 27, 28
Time code
S/MUX 8, 26, 99
Sample rate 11, 73, 99 Console 87 29.97 drop/non-drop 54
192kHz operation 73 overview 87 Destination menu 50, 102
LEDs 7 source setting 89 display (front panel) 7
Sample rate conversion 25, 26, 31, 75, 99 sync 87 Drop-frame 54
Sample Rate Convert menu 11, 75, 99 time code display 7 Final Cut Pro settings 66
116
I N D E X
lock LED 7 standalone mode 39, 93 VITC
LTC connectors 8 summary of features 13 generating 50
Non-drop 54 sync during playback 53 resolving to 49
offset 54 tab 11, 72 time code output options 49, 102
output format options 49, 102 up conversion 45, 98
Source menu 49, 102 Word Clock In setting 73 W
sync 87 VALUE/ENTER knob 7, 97 Widescreen
Toggle Talkback/Listenback 85 VHS deck 14:9 letterbox format 44
Tri-level sync 8, 27, 53 connecting 23 14:9 pillar box format 46
Troubleshooting 105-106 Video anamorphic format 45, 46
audio problems 24, 25 capture mode 37, 38 full screen format 45, 46
basic concepts 37 clock 29 letterbox format 44
FireWire bandwidth error 67, 105 clock setting 73 pillar box format 45
SD disabled 46, 106 connections 21, 23 Width 81
unable to locate external device 105 conversion settings 42, 43 Wiring diagrams for DB25 cables 111
Type I, II optical mode 8, 26, 99 convert mode 37, 38 Word clock
down conversion 63, 94 2x or one-half x 28
U enabling/disabling video features 50, connectors 8, 27
Unable to locate external device 105 73, 102 In setting 73
Uncompressed LED 96 input (choosing) 37 sync setting 73
Uncompressed SD 59, 67, 107 menu (LCD display) 98 thru 28
Undo/Redo 83 modes 37 Word Out menu 11, 77, 99
Up conversion 45, 98 output format 46, 49
deinterlacing menu 54 playback mode 37, 38
clock source 53
X
Sharpness option 55 x 2 75
USA (7.5%) option 50 pull-down insertion/removal 47 x 4 75, 76
reference during playback 53 XLR
V source format 43
source menu 22, 37, 43, 44, 98
AES/EBU 8
V4HD analog 8
audio only mode 37, 39, 50, 73, 94, standalone mode 39, 93
102 status LEDs 7, 37, 96
supported formats 67, 107
Y
basic operation 37 Y/C connectors 21
capture mode 37, 38 synchronization 8, 27 Y/R-Y/B 22
convert mode 37, 38 up conversion 45, 98 YCbCr 22
frame rate 43, 50 VIDEO REF YPbPr 22, 51, 98
installing 19 connectors 8, 27 LEDs 96
playback mode 37, 38 IN 29, 30 YUV 22
software installation 33 troubleshooting 105
117
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118
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