Platinum Topics Introducing Platinum Getting Started The System Area The Vault Event Lists Notes Autoshot Operation Strobing a colour correction into the list EDL importing ANDIX File importing Sleepy Screen Saver Film to Tape Film to Data Tape to Tape Editing

Display Panels Control Panels Setting Panel Defaults DCP + ESR Operation FilmCache Noise Reducer Spirit Connections CReality SGI Requirements Troubleshooting Latest Platinum release notes

These pages can be accessed from within the Platinum Drifter or from the Pandora web site.

Using Platinum for the first time Platinum allows much more power and flexibility than previous Pogle systems. How is this possible? The SGI system is used to give new features, whilst the Pogle hardware ensures that all operations happen quickly. The Vault is the key to this power, because it allows : Networking of all Platinum systems. Unlimited users. Vast numbers of projects. Huge quantity of lists. Infinite amount of notes. Unlimited flexibility with panels. Views allow multiple screen layouts. Storage of key-stroke macros. Telecine alignment facilities Control over software versions. If familiar with previous Pogle systems, then it is quick to pickup as the panel operation is basically unchanged. This ensures that all this power can be harnessed quickly.

Getting started Run Platinum Login to the Vault Choose Film to Tape or Tape to Tape operation Select an existing project or make a new one Build colour corrections into event lists and notes

Record the material using editing or data transfer Logout

Starting Platinum Normally Platinum will always be running and a new user can just log in. Whenever Platinum is running, the system area will be at the bottom of the screen.

To start Platinum, open the Pandora entry and select Pogle Platinum from the popup menu.

Babel can also be run from this menu.To start Babel, open the Pandora entry and select Babel from the popup menu.

Babel is a utility program that can be used to change the time and date.There are also various engineering functions.Check and Update Platinum is run automatically when a new Platinum version is installed. It can also be run to ensure that a version is installed correctly.

The System Area

Whenever Platinum is running the system area will be visible at the bottom of the screen. The system area contains valuable information.

Current software version Text and numeric areas Engineering Current room output standard System status Current user and project Current transports

see below

Entering text

The text area is at the bottom of the Platinum screen in the system area. Type the required text into the system text area using the Platinum QWERTY keypad. The SGI keyboard cannot be used to type into the system area. It is used only for enginerring purposes.

Engineering panel All setups are accessed by clicking on the

l

Transport icons

icon in the system area

Select the required setup panel. Select the Spider to enter the engineering debug panel. Select QUIT to exit Platinum.

Film transport

Fast

Play

Inch

Stop

Inch

Unlocked

Play

Fast

Tape transports

Fast

Play

Inch

Stop

Inch

Unlocked

Play

Record

Fast

Play

Record

Fast

No tape

Disk transports

Fast

Play

Inch

Stop

Inch

Unlocked

The Vault

Bubble help in the Vault Logging into the Vault Logging out of the Vault Creating new items Creating a new project Projects in the Vault Searching for items Renaming items Making space Removing items Showing the size of items in the Vault Item order within the Vault Detail shown for Vault items Scrolling items Updating the current view Creating a new view The Rubbish bin The Black Hole

To find the Vault, press the MENU key. The MENU key is also used for searching.

Bubble Help in the Vault Bubble help is available in the Vault. Help is shown when the button at the top of the Vault is to turn help off. Click on the

.

Logging into the Vault Click on a user to login. The Vault will automatically switch to showing that user’s projects. If the user has not run the current version of software before, then the Drifter is automatically launched to show the new release notes.If your name is not in the Vault, then make a new user. The current user name is always shown at the bottom of the screen in the system area. If the Vault is not visible, press the MENU key.

Logging out of the Vault Press and hold on a user until the menu appears, then select Log out. This will close all the current panels.The screen saver will appear after 30 seconds.

Creating new items Change the current type using the Use the

to see the

buttons.

button.

Enter a name into the system text area and click on

at the bottom of the Vault.

This will create a new item of the current type. Alternatively the item can be named later.

Creating a new user When a new user is created, it takes all the user setups, macros, panels and views from the current user. This makes it easy to get started using someone elses configuration. Before creating a new user, login to the desired user first.

Creating a new project A project is a folder that can hold any number of related lists and notes. When a new project is made, the Vault switches to show lists and a new list is automatically opened ready for use. The project name is shown at the bottom of the screen in the system area. in the Vault. Select projects

Enter a name into the system text area and click on Alternatively the item can be named later.

.

Creating a new list in the Vault. Select lists

Enter a name into the system text area and click on

.

Alternatively the item can be named later. If this is the first list to be opened, then it will be the active list. The list will follow the code of the source material. If there is already an active list, then it will be opened as a reference list. Up to four reference lists can be on the desktop at any time. An event list can also be created from an edl.

Creating a new note Notes are used to store reference colour corrections, sizes and looks. They can be made at any time, even in the middle of another operation. A note is like a single event list. Notes store all event data, PRIMARY, SECONDARY, NOISE etc A reference picture is grabbed. FilmCache can also grab a full resolution picture. An unlimited number of notes can be stored in each project in the Vault under By default notes have the name Note, alternatively the note can be named later

Creating a new note If required, enter a name into the system text area then either Change the Vault current type to or Hit the NOTE key A note will appear in the Vault.

Updating a note

and click on

Enter a name into the system text area Hit Qwerty Shift + NOTE The newest note that matches will be updated. Or choose Write over note from the notes menu

Reading notes Click on the note in the Vault or Black Hole. Hit READ without a title to read the last note read. Notes can be recalled by title. Type in the part of the title and hit READ. A search will be performed and all matching notes will be displayed in the Vault. The newest matching note will be read. If the title is entirely numeric then either the numeric or QWERTY keypads can be used. Hit READ again to step back through matching notes. To see all the notes in the project again, hit the MENU key or

Creating a new panel Hit

and a new panel will appear, also the panel editor will be launched.

Creating a new tube setting Change the Vault current type to Enter a name into the system text area Click on A new tube setting

will appear in the Vault.

Reading tube settings Click on the tube

in the Vault or Black Hole.

The tube values will be read The Tube alignment panel will open Adjust as required

Updating tube settings Select Save over these settings from the popup menu The current tube settings will be stored

Ursa tube alignment

Open the Tube panel in the Vault click on required tube setting Scan effects will automatically be turned off. The picture will jump to the last se in the Tube panel. Adjust the controls as required. Flip switch 1 on the Ursa 114 boa permanently store alignment. Create a new tube setting or upd an existing one Click

to finish tube alignme

Current scan effects will be turned on. Tube setting are only used for Ursa and CReality machines.

Using EDL’s Make sure that a project has been selected in the Vault. This project is where the converted EDL’s will appear as event lists.

Find the EDL in the Black Hole. To make an event list for the record reel click on the

To make an event list for each source reel press and hold on the

and choose

Convert EDL Source List from the popup menu. The edl will be converted.

If the edl is on a remote machine, transfer it to the /pogle/virtual directory on the Platinum system. Then select the virtual folder in the Black Hole. Files should be CMX style text edit lists with a file extension of edl. Sony 9000 edls containing binary data cannot be loaded. Ask the your friendly editor to save the files in CMX ASCII format. This is a list made from the edl record times. This file will have the same name as the original edl file on disk. To colour correct finished cut material, either on film or tape, use this list. This is a list made from the edl source times. An event list will be made for every source reel. To colour correct original, uncut, overlength material, again from either film or tape, use the source list. Click on the required list in the Vault and a list

display will appear with a normal event for each scene. Mixes will have been automatically entered for each dissolve. This list is ready to take colour corrections.

Projects in the Vault Click on an existing project

to continue using it. A project is a folder that can hold any number of related

lists and notes. The current project name is shown at the bottom of the screen in the system area. When a project is chosen the Vault automatically changes to shows lists within that project. Creating a new project

Searching for items in the Vault or Black Hole

Within a Vault view there may be a large number of items. To search for an item: Enter part of the item name into the system text area. AND

Drag the text to the OR

, it will change to

, then drop it.

Click on the

.

OR Hit the MENU key. The Vault will show then just the items containing that text. The case of the text is ignored. Show search for items matching the letter ’l’.

Hit CLEAR to remove the text, then search again to show all the items. Text or numbers can be entered before hitting the READ key to read a particular note.

Renaming items in the Vault Type the new name into the system area.

Drag the text from the system area and drop it onto the item in the Vault.

The item now has the new name.

Removing items from the Vault. Make sure that items have been backed up before Here a project is being removed. removing them. This project has now gone and will now be in the Press and hold on the item that is no longer bin. Repeat this for other unwanted projects. If a project is removed by mistake, click on the needed.A menu will appear, choose Remove bin to show deleted items. Project. Alternatively drag and drop the item to the bin The rubbish bin is not the same as the SGI . dumpster. If items have been deleted using the SGI desktop, then the Desktop > Empty Dumpster menu must be used to regain space.

Detail shown for Vault items At the bottom of the Vault there is an button which changes the detail shown for each Vault item. Click to select the two choices.

A condensed view of items showing a picture and the item name. An expanded view showing more information.

The size and the creation date is shown. When viewing Users or Projects, this is useful to see who or what is using up all the hard disk space. With Lists the number of events is also shown. If all items are not visible, then the scroll bars can be used or the Vault viewing area can be expanded.

Item order within the Vault

There are two choices for the display of items in the Vault. The newest or most recent items are shown to the right of the Vault. Items are shown in alphabetical order, top to bottom, left to right. When sorting by time

the time of the last change is used, not the creation time.

So when lists or notes are added to a Project, the Project will then appear as the newest or most recent item. This makes it easier to find items in the Vault.

Scrolling the Vault area If all items are not shown, then the scroll bars can be used.

Here the first three items are shown.

Here the last three items are shown.

Updating the current view. The view holds the position and popup logic of all the main panels. The position and size of the Vault and the Black Hole is also saved.

Select views in the Vault. Make sure that all panels are positioned correctly. The current view will be hilited, press and hold on it. A menu will appear, choose the Save over view option.

Creating a new view. The view holds the position and popup logic of all the panels. The position and size of the Vault and the Black Hole is also saved.

Select views in the Vault. Make sure that all panels are positioned correctly. Enter a name into the system text area and . click on Alternatively the item can benamed later. The panel positions can be changed and the view updated.

Popup logic for panels. The popup behaviour of certain panels can be modified by the user. This is to allow user panels to be used instead of the system panels. This will allow the popup of the system Mega1 and Mega2 or DCP1 and DCP2 panels from the 1 and 2 keys. Also the Transport and Vtr panels from the transport keys. User panels with the same name will popup in preference to the system panels. This makes it easy to override the system panels. The panel control icon in the top left of each panel changes the panel popup logic. Press on this icon and a four item panel control menu will appear. The first option will raise a panel above all others and is for future use. The second option, will popup certain panels automatically. The third option, a cross, will not popup the panel automatically. The panel is manually positioned and closed. The fourth option, CLOSE, will remove the panel from the screen. option in the panel control menu. So to make the Transport window appear when the TK key is pressed, select the option in the panel Similarly to make the Vtr window appear when one of the VT keys is pressed, select the control menu.

The popup information is stored in each panel view.

Items in the bin These items are now in the bin. It will flash . To recover an item simply click on it. It will automatically be returned to its original place in the Vault. The bin must be emptied if more space is needed. The bin is automatically emptied on logout. To empty the bin, click and hold on the rubbish bin. Then select Empty rubbish bin from the popup menu. The bin will now be empty and more space will be available in the Vault for other items. Normally the old items would be copied to a Jaz or Zip disk before removing them. The rubbish bin is not the same as the SGI dumpster. If items have been deleted using the SGI desktop, then the Desktop > Empty Dumpster menu must be used to regain space.

The Black Hole The Black Hole Browser is launched by clicking on the in the Vault. The Vault contains only the items relating to the current system, user and project. The Black Hole contains all items.

This Platinum

Other Platinum’s

Floppy

Zip

Jaz

Virtual area Items cannot be created by the Black Hole, only by the Vault. Any item in the Black Hole can be dragged to the Vault, this makes a copy in the current user area. Items can be copied into the current user area in the Black Hole, but not into other user areas.

Event lists Creating a new list Labels in events Mixes in events Cloning lists Changing list height Changing list detail

Changing list detail: Images Images And Groups Images And Groups And Labels Groups And Labels

Labels in events Here in a tape to tape list, two events have been labeled. Type in text and hit ENTER to add a label to an event. To find a specific event, type in part of the label and hit UP or DOWN. Text an would match both events 10 and 11. Text can would only match event 10.

Mixes in events

A normal event or cut. Click A with left or profiled mix. right button Profiles to turn are the mix on default and off. for scans.

No cut or mix.

Click on the start to change to linear. A linear mix lasting for two events. To move the end click with the middle button.

Cloning a list display.

There is a new button at the top of the list display which clones a list. A new display for the list will be shown. This is a display of the same list, so changes made will be shown in both displays. The clone display can be independently scrolled.Here the active list is parked at event 45. The clone list has been scrolled back to event 36.The data for any event in the main list or the clone list can be recalled simply by clicking on the image.

Number of events shown in a list The number of events shown in the list display can be altered. Drag the bottom edge of the display up and down, to show between one and eight events.

Detail shown in an event list. There are three parts to the list display. Each has a button to turn that part of the display on and off. Display of images is controlled by this button. If images are not currently being grabbed, maybe during a data transfer, then they can be turned off. Display of groups is controlled by this button. This area shows mix information for each group primary, scans, secondary, noise and utility Display of label information is controlled by this frame code in that scene. Here are some common combinations.

button. The event number is shown, along with the last

Images

Images And Groups

Images And Groups And Labels

Groups And Labels

Images

Images and Groups

Images and Groups and Labels

Groups and Labels

Autoshot configuration and operation Pandora Scene Change Detector in the Room panel in the Routing display in the DVNR panel in the Routing display.

Rank Autoshot in the Room panel in the Routing display in the DVNR panel in the Routing display.

DVNR shot detector in the DVNR panel in the Routing display. This overrides the selection in the Room panel.

VS4 shot detector in the Room panel in the Routing display Connect a cable from the VS4 GPI2 connector to the Pogle GPI input connector. Press the AUTO key to enable scene detection. Now when playing the source machine in LIVE mode, scenes will be added to the active event list. Autoshot timing is used to ensure that the events are marked correctly.

VS4 Autoshot cable Make a cable with the following connections.

9 pin male 25 pin male pin 7 pin 8 pin 5 pin 14 Connect it from the GPI2 9pin female D-type on the VS4 to the GPI 25pin female D-type on the Pogle workstation.

Autoshot timing

In the Room panel in the Routing display there are various timing buttons. The events should be marked into the list on the last frame of the scene. If not then adjust the frame timing value. This timing value is stored separately for 525 and 625, film and tape. In tape to tape operation, wih normal field 1 dominant material, the events should all appear with a *. This is because the data in each event lasts until the end of field 2. Adjust the field timing number from 0 to 1 or from 1 to 0 until the events are marked correctly. This timing value is stored separately for 525 and 625, in tape only. Generally there is an adjustment on an autoshot detector for sensitivity, but there is always a compromise over this setting. When at a responsive level, false shots can be marked during fast movement or animation. The Min Scene Duration helps prevent these false shots. Shots that come in too close together are assumed to be false and are ignored. The default value of 10 frames should be sufficient.

Strobe Strobe allows a note to be read repeatedly or strobed. It can be used to easily create effects that are recalled over the top of the active list. Read the desired note from the Vault.

Turn on Strobe in the Transport panel A Strobe panel will appear. Platinum switches between the note and the active list. The rate can be adjusted in this panel. By default all groups are read from the note. However by turning on certain groups, a strobe of certain parameters can be achieved, combined with the active list. This makes it possible to apply an effect to a fully corrected list. Use freeze to create strobe motion effects. Hitting CLEAR will turn off the strobe mode and return to normal list operation. For example to make a film look noisy. Turn up the Noise reducer Hac and Vac. Hit NOTE Hit the NOISE illuminated key Read this note from the vault Turn on Play the film and adjust the strobe frame rate to suit

Using old ANDIX event files

Using old ANDIX event files Make sure that a project has been selected in the Vault. This project is where the converted files will appear as event lists.

Find the ANDIX file in the Black Hole. Click on the

An event list will appear in the Vault

Files should be ANDIX event lists saved on floppy.

Sleepy Screen Saver

The screen saver will appear after 30 minutes of inactivity. 30 seconds if logged out of the Vault. Moving the mouse to the bottom left of the screen. Moving the mouse or the source transport will keep the system awake. A sleep note will be read shortly afterwards. This can be used to defocus or zoom the scan on a Cintel machine

machine. It can also be used to read a black note to protect the monitor. The note in the Library user’s sleep project is used. Update the note to change the sleep. To disable the sleep, remove the sleep note.

Film To Tape Using the Pogle Platinum for Tape to Tape colour processing is as simple as working in Film to Tape. a. Change to Film to Tape mode. b. Select which VTR is the source deck for the timecode to drive the list. c. Route the video signal from the source VTR through the noise reducer and colour corrector and any other devices in the video path. d. Grade the material as normal.

Film to Tape mode By default the Pogle runs in Film To Tape mode, where the telecine provides the source for the pictures and the timecode. If in Tape mode this can be changed by clicking on the Tape button in the Room Setup window. Note that when you click on Tape the text will turn grey, indicating that the Pogle is now in Film To Tape mode. The same Tape button is also in various other panels.

Source Vtr selection Open the Edit panel. In the Edit panel you will see a Lock button with VTR1 or similar in it. This button indicates which VTR is the source for the timecode to drive the list. Clicking on this button toggles through all the VTR numbers, click on it until the required VTR is displayed. Now when the TK transport button is selected, the transport buttons will drive the source vtr. If possible load an EDL to create a list for colour correction. Engineering setup for Tape to Tape mode.

TapeToTapeGrading Using the Pogle Platinum for Tape to Tape colour processing is as simple as working in Film to Tape. a. Change to Tape to Tape mode. b. Select which VTR is the source deck for the timecode to drive the list. c. Route the video signal from the source VTR through the noise reducer and colour corrector and any other devices in the video path. d. Grade the material as normal.

Tape to Tape mode By default the Pogle runs in Film To Tape mode, where the telecine provides the source for the pictures and the timecode, this mode can be changed by clicking on the Tape button in the Room Setup window. Note that when you click on Tape the text will turn white, indicating that the Pogle is now in Tape To Tape mode. The same Tape button is also in various other panels

The same Tape button is also in various other panels.

Source Vtr selection Open the Edit panel. In the Edit panel you will see a Lock button with VTR1 or similar in it. This button indicates which VTR is the source for the timecode to drive the list. Clicking on this button toggles through all the VTR numbers, click on it until the required VTR is displayed. Now when the TK transport button is selected, the transport buttons will drive the source vtr. If possible load an EDL to create a list for colour correction. Engineering setup for Tape to Tape mode.

Engineering setup for Tape to Tape If the edit timing is incorrect the wrong source frame will appear at the IN point of the record deck If the event timing is incorrect the colour corrector and noise reducer corrections will occur at the wrong timecode. If the autoshot timing is incorrect the event will not be marked correctly. In tape to tape operation, wih normal field 1 dominant material, the events should all appear with a *. This is because the data in each event lasts until the end of field 2. Even if the problem only appears to be the timing of the grading corrections, it is also best to check the edit timing. To setup timings connect a Player with source material and a Recorder. Ensure that the Player and Recorder both edit correctly. These settings will be the same as Film to Tape. Use a vtr or disk that easily jogs field by field as the Recorder. (Not an old D1) Also turn on the timecode burnt in display on the Player. Edit timing Event timing Autoshot timing

Platinum editing Multiple transports can be controlled by the Platinum editor. The main source transport can be a film or tape. It is set to be a Player. Other video or audio sources are also set to be Players. Destinations are set as Recorders. They can be any mix of Insert and Assemble. Other transports are Wild, they do not take part in the edit. Transports can be toggled between Wild, Player and Recorder Button in Transport and Vtr panels. Buttons in the Edit panel. Hold down the Transport panel Alt key and press the required TK or VTR key. Currently it is not possible to set the telecine to Recorder!!

Common questions Why does Pogle goes into TRIM and set the telecine to varispeed when performing? This is because both the telecine and the vtr have out points. See varispeed editing. Why is the Spirit edit runup changing by a large amount? It will be inconsistent with 50mm film cores. Use 75mm cores. Why does an edit fail with the message TK early or TK late? The telecine is probably early or late relative to the edit IN point. Check telecine configuration.

Transport lock When an edit is started the positions of all slaved transports are checked against the transport lock. If there is a mismatch between the film position and the main recorder position, an error panel will appear. If this is the start of a new film project, then select New sequence. This is the same as using the TRANSPORT button. If this is a new reel for the same film and the sequence should be maintained then select Old sequence.

There is also a

option in the edit setup panel.

If this is On then any Vtr In points will be trimmed back to match the existing film sequence on tape. If a Vtr In is entered from the numeric keypad, then this will not be trimmed. Editing setup

Edit timing Set the source deck as a Player. On the Player find a suitable scene change or cut point, do not use a camera flash or a dissolve as this will only lead to confusion. Mark, as an IN point on the Player, the last frame of the scene prior to this point. This will make it easy to check the timing. Make sure that the Recorder is locally set to 2 field CF lock Set the vtr’s timecode mode is set to internal regen. On the Recorder, mark an IN point on a piece of tape where you will be able to clearly identify the start of the edit, colour bars or black are always a good example to use. Set the record deck as a Recorder and set it to ASSEMBLE edit mode. Hit PERFORM to start the edit, do not worry about setting an OUT point, just hit STOP when a few frames have been recorded. Now rewind the record deck back to the start of the edit and make sure that there is only 1 frame of the scene prior to the cut point recorded onto the tape. If there is more than 1 frame of the scene prior to the cut point then you need to increase the Room delay value by the appropriate amount. For example, if there are 3 frames of the previous scene recorded onto the tape, you need to increase the Room delay by 4 because you have 2 frames too many which equals 4 fields. If the last frame of the scene prior to the cut has not been recorded, then you need to reduce the Room delay. It may be difficult to determine how many frames are missing, but decide how many you are out by, for example, if you think that you are 2 frames out, reduce the Room delay value by 4. The Room delay value should always be an even number, as all equipment in the video path will delay the signal by a whole number of frames. Now repeat the edit again at a different IN point on the record deck and check the edit and adjust until timing is correct. During normal editing, the In point is the first frame of the scene.

Event timing Find an obvious scene change in the source material

Find an obvious scene change in the source material Add an event on the last field of the scene. Play into the next scene. Using the colour corrector make a large grading change. Press ENTER to confirm the new grading settings. On the Player mark an IN point a few frames before the scene change. Mark an IN point on the record deck. Hit PERFORM to start the edit and let it run for a few frames after the scene change has gone through, then press STOP. Rewind the record deck and jog through the edit. Look carefully at where the grading change happens. If the timings are correct, the grading change start on the first field after the scene change. If the corrections are early or late or on the wrong field you will need to adjust the O/P FWD and FIELD values on the SECONDARY line in the Room Setup panel. If the corrections are occurring on the wrong field, then change the value in the FIELD box to either 1 or 0. Do not set this value to anything other than 1 or 0. If the colour corrections are happening late, determine how many frames and increase the O/P FWD value by that number. If the colour corrections are happening early, determine how many frames and decrease the O/P FWD value by that number. Repeat the above steps until the grading changes are happening at the correct time. Repeat the process for the noise reducer, adjusting the values that on the NOISE REDUCER line of the Room setup panel. Instead of making a change on the secondary colour corrector, make the change on the noise reducer. An obvious grading change is contour or aperture value. Do not worry about changing these values in the Room Setup panel, they will not affect the values that have been set for Film To Tape. Once set the Platinum will automatically recall the correct setting for each mode.

Pogle Platinum Data transfer.

This panel contains all the main controls for data transfer. The Platinum can also control the TransferEngine program which runs on the data server machine. This is achieved using a socket connection over the standard network. The Platinum can then instruct the Transfer Engine to record, preview and playback data. Data setup and Data preview Data transfer and playback

Data setup

Data setup The current film position in filmcode and frames. The frames display is useful because the Spirit data files have the frame number in their name. The In point for the data transfer. This is the first frame that will be transfered. The Out point for the data transfer. This is optional. If present, the data transfer will stop before this frame. If missing, then the transfer will continue until STOP is pressed.

Data preview Data will be transfered, but not stored to disk. Select VTR1 and click on EE in the Vtr panel.

Data transfer Select Data mode in Platinum data panel. Set resolution on the Spirit remote panel. Set file path on the TransferView program. Ensure that the correct varispeed (3-6fps) is set in the Platinum transport panel. Set telecine preroll to 3 seconds. Mark In point on telecine. Mark Out point, if required. Make telecine a Player. Make all vtrs Wild. Hit Perform. Do not turn on Vari, this will be set automatically during the transfer. This will make the preroll time longer. Also Frame by Frame will be set automatically.

Data playback Select VTR1 and use the transport keys to playback the material.

Editing setup These notes are designed to help POGLE operators and engineers understand the parameters involved when editing. An understanding of what each parameter actually does will hopefully help the user to correctly diagnose which one to change, should there be an editing problem.

Vtr settings Preroll The vtr preroll is the time in seconds allowed for the vtr to run up to speed and stabilize to perform an edit. This value should normally be set to 5 seconds. The main reason to reduce this would be for an audio machine, such as a NAGRA or DAT, if there was limited timecode before the In point. Each vtr can have a different preroll. If the Pogle has problems syncing the vtr, then usually this is probably due to incorrect local colour framing selection or holes / disruptions in the timecode on the tape. The timecode must be continuous for the entire preroll duration. If there is a timecode problem (more common with audio tapes), then either shorten the preroll, or switch to tape timer (not frame accurate).

Runup The runup of a vtr is the number of frames that the vtr takes to get up to speed compared with a theoretical instant start. The Runup value allows the Pogle to park the vtr nearer to the In point to compensate for this startup delay. Then the Vtr speed override moves the machine exactly into sync if needed. Video disks will have small consistent runup values like 2. Newer machines like Betacam and D2 will have consistent runup values. If the runup is set exactly then no speed override is needed. Older machines like one inch or D1 or audio will have variable runup values. 1-3 frames early or late is normal. The Vtr speed override will varispeed the machine during preroll to ensure an exact sync.

Edit offset The edit offset is a field value that compensates for the delays between the POGLE issuing the ’Record’ command and the vtr actually recording. This means that even if the tape is at the correct position at the IN point the vtr may go into record slightly earlier or later than required. Consequently if the edit offset is zero, then the edit will be lots of fields late. Increasing the number will make the edit happen earlier. If the required In frame is 10 and the edit happens at frame 11, then the edit offset needs to be increased by 2 fields. If the required In frame is 10 and the edit happens at frame 9, then the edit offset needs to be decreased by 2 fields.

Jog rate This parameter sets the rate at which a machine moves when inching. Normally this should be set to a value of 24 except if, when jogging, it is not possible to move in increments of 1 field (if the vtr is set locally to use VITC or ASTC). This is quite common on D1 and some D2 machines. If this happens then decrease the value of Jog rate to 20 or 18. Use the largest value that works correctly, as if the parameter is set too small the machine will only move very very slowly. If the timecode is not being read smoothly for the machine, then jogging will be erratic. This can commonly happen with audio machines. The Vtr inch keys normally move by fields. Use Alt + INCH to move by frames. If no Vitc (field information) code is available from the vtr, then it will only be able to frame jog.

Tc slip This allows for a difference in fields between the playback vtr timecode and the playback video entering the room. Video transports should always have a slip of zero, unless there is a delay, for example, a frame based decoder. Audio decks can suffer from a ’real’ slip in their TC due to their mechanical setup or errors when shooting and this can be compensated using Tc slip instead of adjusting the In point. When setting up the vtr for the first time the value for TC SLIP should always be 0. If it is not then the value for EDIT OFFSET above will have been set incorrectly. If a deck needs to be slipped then this value can be adjusted. As this is in fields it should never be an odd number.

Record slip The Record slip allows for a difference in fields between the record vtr timecode and the video frame when it reaches the recorder.

The slip should always have a slip of 0, unless there is a delay, for example a frame based encoder. Then it would be set for an individual vtr to ensure that it recorded the correct frame at it’s In point.

Vtr speed override Bump, this is the normal setting. Off, this is used when setting the vtr Runup.

Check Vtr sync Accurate, this is the normal setting. If the telecine is not in sync, then Pogle will stop the edit. Rough, used for setup purposes only. Error messages will appear, but the edit will continue. When a new vtr is connected it may be displayed as NEW VTR. When this happens name it and follow the instructions.

Vtr setup To setup the vtr editing parameters, a short section of tape prestriped with black will be required. Make sure that the vtr is set locally to a 2 field CF lock. Route test bars into the machine. First the Runup of the vtr needs to be setup. Set Preroll to 5 seconds. Set an In point (example 1:00:00:10), at least 5 seconds into the striped tape. Set the vtr to be a Recorder. Turn Vtr speed override to Off. Press Preview If a message appears reporting that the vtr is late, then the Runup must be increased by this number of frames. If a message appears reporting that the vtr is early, then the Runup must be decreased by this number of frames. Turn Vtr speed override to On. Press Preview The vtr should preview without error. If there are problems then see Preroll and Runup and make sure that the machine is in 2 field lock. Now the Edit offset of the vtr needs to be setup. Press Perform. Check the In point to find the cut between black and bars If the cut is late, then increase the Edit offset. Example, cut at frame 12, increase the Edit offset by 4 fields. If the Cut is early, then decrease the Edit offset. Example cut at frame 9, increase the Edit offset by 2 fields.

Naming a Vtr Open the Edit setup panel. Type in the new name Click on the old name in the edit setup panel Close the setup panel to save the change

Telecine preroll, runup and slip

Preroll The telecine preroll is the time in seconds allowed for the telecine to run up to speed and stabilize so that it may consistently perform edits with a correctly framed picture. This values should be at least 3 seconds, probably 5 seconds.

Runup The runup of the telecine is the number of frames that the telecine takes to get up to speed compared with a theoretical instant start, plus the number of frames of video delay through the system. When running at 24fps in 525 standard, there are three additional offsets which also relate to the telecine runup. More of that later in section 3.

Slip The telecine TC SLIP value is an internal offset for the number of frames of video delay through the system and any counter delays. Changing this number will only affect the CHK telecine warning function and will not affect the timings involved in the actual edit.

Telecine store, speed override, check sync Store field This only appears in the 525 Edit Setup panel. When the telecine runs at 24fps each film frame appears as a sequence of 2 then 3 video fields on the telecine output. This makes 24 film frames into 30 video frames. The room delay delays this sequence. The store field is a field offset from 0 to 4 that compensates for this delay.

Tk speed override Off, this is the normal setting. Bump, this is for test purposes only.

Check Tk sync Accurate, this is the normal setting. If the telecine is not in sync, then Pogle will stop the edit. Rough, normally used for setup purposes only. Error messages will appear, but the edit will continue.

Setup of telecine in 625 To set up the telecine timings you will need some film with at least one cut or some numbers. Ensure the vtr is editing correctly first. Open the Edit Setup panel. Set the telecine Preroll to 5 seconds. Set a suitable IN point on the film so that the chosen frame can easily be recognised when recorded onto tape. Turn Check Tk sync to Rough. Perform an edit. Check to see if the correct film frame has been recorded, ignoring any error messages. If the frame has been missed, then the telecine is early and the Runup value must be decreased. If it appears on the tape, but after the edit In point, then the telecine is late and the Runup value must be increased. Repeat until the edit is performed correctly. If inconsistent then check telecine. Set the Telecine Slip to -9. Repeat the edit without an OUT point. Click on the Telecine Slip while looking at the telecine icon in the bottom right corner of the Platinum screen. One value of Telecine Slip will make the telecine reels turn from red to white. Stop and check this edit. Turn Check Tk sync back to Accurate. N h di i h ld

Now when editing, no error messages should appear. Close the Edit Setup panel to save the settings.

Setup of telecine in 525 Possible problems with telecine configuration To set up the telecine timings, use a film with a sequence of frames which are easily identifiable from one another (numbered or marked frames). The record vtr must be capable of performing field editing and should be set locally to a 2 field CF lock and F1/F2 editing. This is needed so that the Pogle can perform both field 1 and field 2 inserts. Make sure that Dailies is off and Round timecode is off in the Edit setup panel.

First set the Store number. During the Store setup ignore which actual film frames are recorded- only the field sequence is important. If you have any problems with the vtr, then the telecine should be removed from the edit and the vtr editing problem resolved before continuing. Ensure the vtr is editing correctly first. Open the Edit Setup panel. Set the telecine Preroll to 5 seconds. Next set the Lock point to 2:3. Turn Check Tk sync to Rough. Set a suitable IN point on the film that is near the start of a series of unique frames. Set an In point on the vtr. Select S on both the telecine and the vtr Press Transport, then Enter. This gives POGLE a fixed relationship between the film and tape from which to start the 2:3 sequence count. This edit will be an A frame edit. Perform an edit, ignore any messages and stop after the In point is reached. Press Cue, then In. Inch through the In point and check the field sequence. The correct sequence is 2 fields of one film frame, then 3 fields of the next film frame, if incorrect then one of the following four sequences will appear. 1 then 3, 1 then 2, 2 then 2, 3 then 2. If the sequence is not 2 then 3, then click on the Store button and try again. When the sequence is correct then repeat the edit and check again. If the sequence is not right, then check the Frame pulse or 6Hz pulse connected to the Pogle. Open the Source setup panel to check on the pulses. Now set :

Runup and Slip. Check to see if the correct film frame has been recorded. If the frame has been missed, then the telecine is early and the Runup value must be decreased. If it appears on the tape, but at the wrong point, then the telecine is late and the Runup value must be increased. Repeat until the edit is performed correctly. If inconsistent then check telecine. Set the Telecine Slip to -9. Repeat the edit without an OUT point. Click on the Telecine Slip while looking at the telecine icon in the bottom right corner of the Platinum screen. One value of Telecine Slip will make the telecine reels turn from red to white. Stop and check this edit. Turn Check Tk sync back to Accurate.

Then set

B, C and D edits. Select TK and press + 1 All In to move on by one film frame. Perform an edit. This will be a B frame (3 field) edit, starting on field 1. If a message appears then click on the Runup offset for B. Repeat the edit until no message appears. Select VT and press Cue, then In. Inch through the In point and check that the correct film frame lasts for 3 fields. Now select TK and press + 1 All In to move on by one film frame. Perform an edit. This will be a C frame (2 field) edit starting on field 2. If a message appears then click on the Runup offset for C. Repeat the edit until no message appears. Select VT and press Cue, then In. Inch through the In point and check that the correct film frame lasts for 2 fields. Now select TK and press + 1 All In to move on by one film frame. Perform an edit. This will be a D frame (3 field) edit starting on field 2. If a message appears then click on the Runup offset for D. Repeat the edit until no message appears. Select VT and press Cue, then In. Inch through the In point and check that the correct film frame lasts for 2 fields. Close the Edit Setup panel to save the settings. Do NOT change the telecine Runup or Slip during the setup of B, C and D edits. Only Runup offset should be changed.

Varispeed editing When the telecine is switched to Vari, another set of Runup and Slip values are used. Edits are setup in the same way as for 625 editing. If another varispeed is used then the runup will need to be adjusted again. Only one set is saved for all varispeed settings. In varispeed POGLE cannot always compensate for the inserted or ignored frames, consequently the edit points may move slightly from one edit to the next. Vtr and audio transports are always run at fixed play speed. If audio must be synced, that was not recorded at video rate, then the audio transport must be locked to the film using bi-phase or timecode. Aaton and Evertz systems can produce the required timecode. When performing an edit Pogle checks the durations on the telecine and the vtr. If they are different, then the Pogle automatically calculates the correct varispeed for the film so that it will match the vtr duration. Hit PERFORM again to continue with the edit. If the Pogle sets the telecine into varispeed when performing, it will be because there are conflicting out points for the telecine and vtr. If the tk outpoint is not correct, then CLEAR out of TRIM and DELETE the telecine OUT point. Why does Pogle goes into TRIM and set the telecine to varispeed when performing? This is because both the telecine and the vtr have out points.

Telecine runup troubleshooting Why does an edit fail with the message TK early or TK late? The telecine is probably early or late relative to the edit IN point. Set Check Tk sync to Rough and perform the edit. Check the film frame at the edit In point. If the film is early then the required frame will not be recorded. If the film is late then the required frame will appear after the In point. Repeat the edit again. If it is always consistently wrong, then simply setup the telecine again.

p g y y g py g If it varies, then check these items, starting with the pulses in the Source setup panel. Philips BTS Quadra, FDL90 and FDL60. Set the switches on the inside right of the machine to 30fps and TC. The 6Hz pulse is required in 525 and HDTV to ensure accurate 2:3 editing. Spirit Runup will be inconsistent with 50mm film cores. Always use 75mm cores. The CFR pulse is required in 525 and HDTV to ensure accurate 2:3 editing. Cintel Ursa and MKIII Set the digiscan store to MASTER mode, field 1. The store freeze on run option must be disabled. The telecine runup time should be set on the machine so that a consistant startup is achieved. The picture should frame in the same direction each time it runs. The runup does not need to be 70ms, it can and should be set slower (> 100ms) particularly if problems are found in achieving the required consistancy. If problems appear at different points in large reels, then the telecine should be setup again, starting with the spooling servo. The Frame pulse is required in 525 and HDTVto ensure accurate 2:3 editing. The capstan should be cleaned whenever the film is changed to ensure correct film handling. If the acceleration characteristics of the telecine should change, then the Runup and Slip can be temporarily adjusted until the mechanics can be put right...by cleaning the capstan or altering the runup pot on a Cintel telecine. However if on edge the telecine must be adjusted. If a frame of video delay is added or subtracted from the signal path, the telecine settings will need to be re-adjusted. It isstrongly recommended that the video path delay be kept constant.

Panels Panels contain status information, switches and controls. System Panels come with each software release and can be found in the Vault. User Panels can created to customise the Platinum. Panel positions can be stored in a View Some Panels popup automatically There are two main type of panels. Setup panels cannot be minimised. These panels are opened by clicking on the appropriate icon in the Routing display. They can be kept open during setup, then they are closed. button will permanently save the contents of the panel. Pressing the Status panels are used during a session. They can be minimised by pressing the button on the top right. When minimised a small icon appears at the top of the screen, with the panels name. Click on the icon to see the panel again. There is also a reset button in the top right corner. This trims the controls in the panel back to their default.

Adjusting panel switches Click with the left or right trackball button to step through switch positions. Click with the middle trackball button to step back through switch positions. Press and hold on a switch to bring up a popup menu. Then any switch position can be accessed.

Adjusting panel controls Controls can be adjusted in various ways.

Type in a number and click on the control. If the control range is small, then click with left or right button to increment the value. If the control range is small, then click with middle button to decrement the value. If the control range is large, then clicking will grab the control to the Blue display. The Blue display allows six different controls to be available on selection 4. If a control has a normal physical control on the control panel, then this will not operate when the control is grabbed to the Blue display. Press selection key 4 next to the Blue display to allow adjustments, or regrab different controls to the Blue display.

Control panels

Transport

Trackball

Operations

DCP

Macros allow sequences of control panel keys to be stored and replayed

Transport panel

The small button above the STOP key is the transport Alt key. Holding it down while hitting other keys allows certain alternate functions or shortcuts .

Alt + CUE

In COPY will cue source to last frame of event, rather than trim frame.

Film transports

Alt + TK Alt + PLAY

Switch the source machine between Wild and Player. Quadra and Spirit, 6fps forward, useful

Alt + PLAY FWD

Quadra and Spirit, 6fps forward, useful when setting light levels

Vtr transports

Alt + VTR Alt + INCH Alt + PLAY FWD Alt + PLAY REV

Switch the vtr machine between Wild, Player and Recorder. Moves by frame, rather than field. Toggle between 1/2 speed and x5 forward. Toggle between 1/2 speed and x5 reverse.

Cue This key is used to move transports to particular places.

100 CUE -- 800 CUE +10 CUE -100 CUE CUE CUE

Cue to 1 second. Cue to 8 seconds before zero. Cue 10 frames forward from current position. Cue back 1 second from current position. Cue to last cue point.

When in COPY mode the CUE key takes the source to the trimmed frame. If the event has not been trimmed, then the cue point will be the last frame of the event.

UP CUE DOWN CUE COPY CUE Alt + CUE 1 UP -300 CUE CUE IN CUE OUT ALL CUE IN ALL CUE OUT ALL CUE CUE RESTORE CUE

Cue to trim frame in previous event. Cue to trim frame in next event. Cue to trim frame in current event. Cue to last frame of event, rather than trim frame. Cue to 3 seconds before first event. Cue to IN point of current edit. Cue to OUT point of current edit. CUE all slaved transports to IN point CUE all slaved transports to OUT point CUE all slaved transports to current transport. Cue to IN point of last edit

Trackerball control panel The main trackerball panel is used for telecine and two layers of DCP primary controls. The current mode is reflected by the colour of the trackerball illumination.

Telecine lift, gamma, gain

Telecine lift, gamma, pec

DCP 1

DCP 2

The left button above the lower trackerball switches between the different modes. Telecine, DCP 1 and DCP 2 Each ball has a reset button. Press once to reset the differential control. Double press to reset the differential and the master. Press and hold to reset the whole primary. The six buttons in the centre of the panel are macro keys. Fast switching between the three sets of primaries can easily be achieved using the macro buttons. The two macro buttons above the gamma track ball are ideal for this. Program the left hand button to be a press and hold on the normal Telecine/DCP primary selection button and a press of the DCP1 button on the DCP control panel. Program the right hand button to be a press and hold on the normal Telecine/DCP primary selection button and a press of the DCP2 button on the DCP control panel. Now from the telecine primaries (green track balls), it is possible to go directly to either DCP1 or DCP2 by pressing the appropriate macro button. Also in either DCP1 or DCP2 it is possible to return to the telecine primaries by pressing either macro button.

Telecine Primary control The telecine primary controls are available when the top two balls are green. If they are not green, press and hold the left button above the lower ball until they turn green. When green, the top left ball controls lift and the top right controls gain. If the lower ball is green then the telecine gamma is controlled. If remote PEC control is available then a short press on the same button will turn only the lower ball red, allowing PEC control. A short press of the same button will toggle between PEC and gamma control. Telecine lift and gain are available in either mode.

Telecine Six Vector Secondary (for MKIII and URSA)

Telecine six vector secondary and DCP 1 six vector secondary are available by pressing the 1 key on the DCP panel. In the DCP 1 panel, there is a button to switch between DCP and RANK. Only one of these two secondaries can be programmed into an event. Six fixed vectors exist for the Rank secondary, these are selected using the R, G, B, Y, C and M keys. The hue, saturation and luminance within the selected vector can be adjusted using the three controls on the upper left hand side of the DCP panel.

DCP 1 Primary control DCP 1 primary controls are available when all the balls are red. If any balls are green, then press and hold the left button above the lower ball until they change. If the balls are now orange then press the 1 key on the DCP panel. Now the balls will be red. Lift gamma and gain controls are now available. These controls will affect the entire picture area.

Copying DCP 1 primary from another event. Hit Up or Down to select the event that has the desired correction. Press the illuminated key labelled SECONDARY. Press the left button above the lower ball on the trackerball panel. Now all the DCP 1 primary will be merged with the current event. Press ENTER to update this into the list.

Reading DCP 1 primary from a note. Read the note that has the desired correction. Press the illuminated key labelled SECONDARY. Press the left button above the lower ball on the trackerball panel. Now all the DCP 1 primary will be merged with the current event. Press ENTER to update this into the list.

Six Channel colour and area isolation Processor for Primary & Secondary Six variable channels exist for the DCP 2 secondary, these are selected using the R, G, B, Y, C and M keys. The hue, saturation and luminance within the selected vector can be adjusted using the three controls on the upper left hand side of the DCP panel. Additionally the R, G and B channels have full primary control. Primary control is available when the balls are orange. As an aid, the MASK button on the DCP panel will desaturate all parts of picture that are not within the current isolation. Additionally in mask if a region has been set, then its boundaries will be visible.

DCP 2 Primary control DCP 2 primary controls are available

p y when all the balls are orange. If any balls are green, then press and hold the switch above the lower ball until they change. If the balls are now red then press the 2 key on the DCP panel. Now the balls will be orange. Lift gamma and gain controls are now available. These controls will affect isolated picture areas. Press and hold on one of the primary reset buttons to default the primary for that channel. The isolation depends on colour and area selection. This will be described later.

Resetting the changes made inside a channel. Press and hold on one of the primary buttons, to default the primary, and press and hold the appropriate channel selection button to default the secondary hue, sat and lum. The vector position, or hue, can be rotated through 360 degrees using the top control on the right of the DCP panel. The vector width can be altered from 0 to 360 degrees using the second control on the right of the DCP panel. The threshold of lowest saturation that is included in the isolation is set using the third control on the right of the DCP panel. The threshold of highest saturation that is included in the isolation, is set using the fourth control on the right of the DCP panel. The threshold of lowest luminance that is included in the isolation, is set using the fifth control on the right of the DCP panel. The threshold of highest luminance that is included in the isolation is set using the sixth control on the right of the DCP panel.

Channel isolation By default, when a channel is opened, the isolation is set to a 60 degrees vector width, centred about the R, G, B, Y, C and M key that was chosen. The lower saturation threshold is set slightly above zero to exclude black and white areas from the isolation. The full luminance range is included in the isolation. By default, the thresholds of hue, saturation and luminance isolation are softened slightly. The softness of all these thresholds can be independently adjusted. However there is only one physical control for softness. Whenever one of the above threshold controls is adjusted, the softness of this threshold is automatically assigned to the seventh control on the DCP panel. To make a channel work on all colours, simply press the EXPAND key. This is the key below GRAB on the DCP control panel. By default, the isolation occurs over the full picture area. However, the isolation can be limited to particular areas of the picture by using the region controls available for each channel. A double press of the button next to the ball on the DCP panel, will set the area to a small rectangle. Use of Mask mode will ease adjustment of this region. The region position can be adjusted using the track ball on the DCP control panel. The small button next to this track ball toggles control of the region between size and position. Press and hold this button to reset the region to be full screen. Then all parts of the picture will be in the isolation. Double press this button to set a default region. (A tall rectangle)

DCP 2 channel priorities The priority of DCP channels is affected by the outer ring on the DCP panel track ball. Primary changes are always mixed together, there is no hard priority. Turning the outer ring down will mix the primary change into the background and thus behind another channel. Secondary changes are normally also transparent. By default there is no priority, so the changes made to two overlapping areas will combine together. This is the normal mode of operation and is ideal for ESR area isolations. If the outer ring is turned down by a small amount then all transparency will be removed, giving a rigid priority. This is useful if a channel is to be used for colour isolation, rather than area isolation. The colours isolated by higher priority channels, starting from red, will not be affected by lower priority channels. For example, this allows several objects to be isolated and then the rest of the scene can be desaturated. Obviously, all of this only applies where layers overlap.

Regions The softness of the top, bottom, left and right of the region can adjusted from the controls around the blue display on the transport panel. Additionally, the region can be tilted and skewed. These controls will automatically appear when the region position is adjusted.

To ensure smoothest edges, make sure that the DCP track ball ring is fully wound up. This should be the default. The edges for the first three channels can be changed by selected one of four different slopes. (F, S, M and H) or (Soft, Soft , Hard, Hard on Platinum). These can be used to make the edge slope very quickly and make a more precise region. Normally for real scene isolations the first F position is used. However, artificial shapes like ovals, and circles can be made on the M or H settings. To make a circle... Start with a rectangular region. Apply equal softness to all four sides. Reduce the size of the rectangle to nothing. (leaving softness) Click on the F/S/M/H button for the current channel. On "M" you should have a perfect circle, with a fair amount of softness. On "H" the edges will be harder, but probably not so suitable for normal scenes. Adjusting softness on each side will give different shapes like ellipses and semi-circles. A colour wash or tint can be made in two ways. The easiest is... EXPAND a channel. This channel will change the whole picture. Desaturate, then use the gamma to add in the appropriate colour. Sepia and other tints can be achieved by this method. Obviously by programming this as a mix a gradual change can occur. Also, the channel region controls can be used to apply the wash to a part of the picture, and the edge softening used to produce a graduated boundary between the background and the region. In this way the replication of camera filters, corals, ND’s etc, is possible.

Regions EXPAND a channel. This channel will change the whole picture. Select the wash button on the display next to the hue output control - (DCP Panel) The knob now adjusts a hue multiplier instead of the usual adder or offset. Turn the control to a minimum. The range of hues in the picture will decrease down to 1. 5. Press the wash again. The control will revert to be a hue offset. Select the required hue. This will provide a wash through replacing all the hues with just one. Often this is the desired look. The original black, grey and white areas will have very little colour in them, as they have a low saturation. To put a wash colour into these parts of the picture, their saturation must be changed... Turn the saturation control down to a minimum. The range of saturations in the picture will removed leaving a desaturated picture. Select the wash button on the display next to the saturation output control - (DCP Panel) The knob now adjusts a saturation multiplier instead of the usual adder or offset. Slowly turn this saturation control up and you will see the desired hue or colour appear in all parts of the picture. This method will produce a true colour tone effect where, for example, a true sepia can be achieved as colour is added where there was no colour before. Again, because these controls are variable, the picture can be mixed from normal colour to a tint over a number of frames.

Copying all DCP 2 channels from another event. Hit Up or Down to select the event that has the desired correction. Press the illuminated key labeled SECONDARY. Press the DCP2 key on the DCP panel. Now all DCP2 ESR channels will be merged with the current event. Press ENTER to update this into the list.

Reading all DCP 2 channels from a note. Read the note that has the desired correction. Press the illuminated key labeled SECONDARY. Press the DCP2 key on the DCP panel. Now all DCP2 ESR channels will be merged with the current event. Press ENTER to update this into the list.

Copying a DCP 2 channel from another event. Hit Up or Down to select the event that has the desired correction. Press the illuminated key labeled SECONDARY. Press the DCP2 key on the DCP panel. Press the key R,G,B,C,M,Y for the required channel Now the required DCP2 ESR channel will be merged with the current event. Press ENTER to update this into the list.

Reading a DCP 2 channel from a note. Read the note that has the desired correction. Press the illuminated key labeled SECONDARY. Press the DCP2 key on the DCP panel. Press the key R,G,B,C,M,Y for the required channel Now the required DCP2 ESR channel will be merged with the current event. Press ENTER to update this into the list.

Swapping a DCP 2 channel. (Useful to alter channel priorities) Make sure the list is in Program or Live. Drag the luminance bar for the appropriate source channel in the Pandora DCP window. and drop it on the luminance bar for the destination channel. The first channel will be swapped with the second channel. Andix systems Make sure the list is in Program or Live. Click on the luminance bar for the appropriate source channel in the Pandora DCP window. The cursor will change from yellow to red. Now click on the luminance bar for the destination channel. The first channel will be swapped with the second channel.

Copying a DCP 2 channel. (Useful to start another channel with similar setup) Make sure the list is in Program or Live. Hold down the shift key on the QWERTY keypad. Drag the luminance bar for the appropriate channel in the Pandora DCP window and drop it on the luminance bar for the destination channel. The first channel will be copied over the second channel. Andix systems Make sure the list is in Program or Live. Hold down the shift key on the QWERTY keypad. Click on the luminance bar for the appropriate source channel in the Pandora DCP window. The cursor will change from yellow to red.

Click on the luminance bar for the destination channel. The first channel will be copied into the second channel.

Macro storage and operation Macros allow a sequence of keys to be stored and replayed. Normally unused panel keys are used as macros, however with care any key can be used. The shift key can be used to access another macro for every control panel key. This allows storage of macros related to the normal key function. Trackball and knob movements are not stored. Macros are stored separately for each operator.

Storing a new macro. In the User Controls panel. Click. Press the control panel key that will be used to replay the macro. Now press the required keys. Click here again to end the macro. Now each time the control panel key is pressed the stored macro will be replayed.

Deleting a macro. Follow the steps for storing a new macro, except when appears, click on the

do not enter any keys. Simply

button again. This will remove the macro.

If the key had it’s own function before macro storage, then this will be available again.

Macro examples Click to start. QWERTY SHIFT, PRESET COUNTER 1000000 ENTER Click again to end. Now when QWERTY SHIFT, PRESET COUNTER is pressed the source counter will be set to one hour. The normal PRESET COUNTER is still available. Click to start. QWERTY SHIFT, PERFORM TK, UP, ALL, IN, COPY, ALL, OUT, PERFORM Click again to end. Now when QWERTY SHIFT, PERFORM is pressed the current event will be edited onto tape. The normal PERFORM function is still available. Assuming Transport Lock has been setup correctly for film and tape.

Setting System defaults

Setting System defaults System defaults are used at various times To make a live event when a new active list is created To make a live event when the current active list is emptied ( DELETE ALL ENTER) To reset a control to it’s default The same defaults are used for all users. Click on Defaults setup in the Engineering panel. This opens the defaults panel. Clicking on one of the top row of buttons recalls the suggested factory setting. This is not automatically stored. Click on the button below to store the default.

Example: Setting DCP events to suggested defaults. Click on Recall factory defaults for secondary. Click on Save new defaults for secondary. Example: To set the default varispeed to 20fps. Type 20 and click on the speed in the Transport panel. Ensure all other UTILITY values are sensible. Click on Save new defaults for utility.

Noise reducers The Pogle can control the following noise reducers. Accom DVNR FGR VS4 MNR9 MNR10 MNR11 VS4 They are all connected via a standard RS422 cable to the 7th 9pin D-type on the Pogle, labeled Noise. The controls are stored in the Pogle event list, so changes can be made scene to scene.

A particular noise reducer can be selected in the Room setup panel.

DVNR noise reducer

Test and split are live controls and are not stored. All the other controls are stored in the Pogle event list. See the Digital Vision manual for operational details. Other options have separate panels. There are some engineering settings in the DVNR setup panel

CSR

The continuous scratch controls are stored in the Pogle event list. See the Digital Vision manual for operational details.

DIS, HZOM, VZOM

The image stabiliser, horizontal and vertical zoom controls are stored in the Pogle event list. See the Digital Vision manual for operational details.

CDK

The chroma desaturation controls are stored in the Pogle event list. See the Digital Vision manual for operational details.

ASC II

DVNR setup Click on NR setup in the Engineering panel to access DVNR setup.

Control of the DVNR is at 57k6 or 115k. The slower rates no longer allow field accurate control of the DVNR. If OFFLINE is shown try the other baud rate. If control is still not possible, then try toggling the first position of the 8 way DIL switch on the DVNR output card. Select the options that are fitted to the DVNR. Close the panel and then restart Platinum.

VS4 Video Sweetener

Test and split are live controls and are not stored. All the other controls are stored in the Pogle event list. See the Philips VS4 manual for operational details. Currently the digital makeup function is not supported. There are some engineering settings in the VS4 setup panel The VS4 autoshot can be used.

VS4 setup Click on NR setup in the Engineering panel to access VS4 setup. If the DCP is installed in loop mode between the noise and contour processors, then the DCP delay should be set to In. The VS4 adds 8 fields to the room delay. (6 fields if no contour option)

Spirit connections

CReality masking On the third page of the Vault and the Black Hole, there are user maskings. An unlimited number of maskings can be stored in each project. In the Pandora user, in the project CR masks, there are four factory maskings. These maskings can be used as is or dragged into the current

current project in the Vault. The masking is controlled by the nine bargraphs in the Masking CReality panel. User must be turned on to enable the masking. To save masking hit New in the Vault. To recall masking click on the required mask in the Vault.

Troubleshooting First save the active list. Keys not working or functions not available? SCSI error indicated? Press TK then VTR1, do the control panel lights change? If no lamp change, then reset the Pogle workstation. Wait for LOADING to disappear. LOADING does not disappear from system area? Follow restart procedure. Pointer is frozen on the Platinum screen? Try to enter control panel test mode. If not possible, then reset the control panel. Note that it is very rare for the control panel to crash. Only as a last resort should the SGI be powered off. If a particular problem happens frequently, then try to keep track of the operations that caused it and send details to Pandora at [email protected] If the SGI locks up when the Pogle workstation reset button is pressed, then the Pogle workstation needs a simple modification. This must be done as soon as possible.

Control panel test

Press the CLEAR and - keys on the numeric keypad together to enter test mode. TEST MODE: KEYS KEY UP MINUS Press any key, KEY DOWN xxx and then KEY UP xxx will appear. To test encoders press the UP key on the transport panel TEST MODE: ENCODERS TURN ANY ENCODER All encoders can now be tested. To exit test mode, press the CLEAR and - keys on the numeric keypad together. Normally if test mode is accessible, then the panel is fully operational.

Control panel reset Note that it is rare for the control panel to crash.

Press the ENTER, STOP and ENTER keys together. The following message will appear on the blue display TEST MODE: KEYS KEY BOOT TEST OK Then after a short while the following message will appear. LOADING NEW SOFTWARE *’s will start to fill the blue display, as software is loaded into the panel. If this does not appear then the Pogle workstation needs to be reset. Having reset the Pogle, if the panel still does not load, there may be a problem with the RS422 cable connecting the Pogle workstation to the control panel.

Pogle workstation reset modification

Pogle workstation reset modification

This modification to older Pogle Workstations, removes the conflict between the Pogle reset line and the SCSI reset line going to the SGI. This is necessary because the SGI can completely lockup if the reset line is asserted by the Pogle. Locate U32 (74LS05) and cut off pin 6. Now the Pogle workstation button can be used without any conflict.

FilmCache The Platinum displays pictures in the event list as a reference. Each note also has a picture reference. A PAL or NTSC video feed is required for this. Normally this would be the same feed that was driving the autoshot detector. A serial digital 601 to PAL + NTSC encoder + autoshot is available from Pandora for this purpose, if this is not already in the room. This composite feed is grabbed into the standard VINO Indy analogue composite video input or the analog video I/O option on the O2 machine. When running with HiDef video then a down converter will be needed to be able to grab composite images into the SGI. The system will work perfectly in this configuration, however additional features will be available when an external digital disk recorder is connected to the Pogle Platinum. A real-time video disk with a good Sony RS422 emulation is required. A conventional still store is not suitable. Older disks like the A60 and A64 are not suitable, as they do not allow easy switching between record and playback. Suitable disk recorders Abekas A65. Ensure that A65 edit offset is correct in Edit Setup panel. Abekas A66. Ensure that A66 edit offset is correct in Edit Setup panel. Accom 2Xtreme. Version 1.057 or newer. MMS ProntoVideo. Set disk timecode start to 00:00:00:00 in Pronto onscreen menu. Post Impressions SpiDDR. Si Q i kf V i 6 06k S t id d t F120 i Si

Sierra Quickframe. Version 6.06k or newer. Set id code to F120 in Sierra menu. Sierra Diskcovery. Version 6.06k or newer. Set id code to F120 in Sierra menu. Please contact us with specific model information, so that we can verify correct operation. The pictures from the disk are fed into the DCP reference wipe to allow easy and fast picture matching. Connect the disk to Pogle vtr port 4. If the disk is recognised then a disk icon will appear. FilmCache operation System wiring for Platinum FilmCache

FilmCache operation Storing images Every time the ENTER key is used to update an event, a frame will be grabbed. A small image will appear in the list and the video disk will capture a full resolution image. When adding a new event an image will only be grabbed when in TRIM mode or there is no image for this event. Because of this when trimming in the middle of a scene, it is best to enter the trim, before moving on. This ensures that the grabbed image is the most relevant one. The frame count of the grabbed image is stored in the event. When CUE is used in COPY mode the Pogle cues to the exact trimmed frame to allow easy regrading. Images are also grabbed when in autoshot mode. Images are also grabbed when the NOTE key is used. So NOTE can be used to manually grab images.

Recalling images Click on any image (notes or events) on the Platinum desktop to read all the data and also recall the grabbed image. This is useful when moving into ungraded material. Clicking with the middle button will just recall the grabbed image. This is useful when the current scene has already been graded.

FilmCache wiring

The Drifter. Drifter is similar to a web browser, but it is much easier and faster. Drifter provides access to help topics on Platinum. S ft l t b i d

Software release notes can be viewed. Drifter can be launched from the Vault in various ways. For specific help, click on the button. As the ? cursor is moved over icons in the Vault, brief Bubble help will appear. Click on an icon for more detailed information. For general help, press and hold on the button, then choose either Release Notes or Platinum Topics from the menu. When logging into the Vault, if the user has not run the current software version, then Drifter will automatically be launched to show the new release notes. When the arrow is moved over a link, it changes into a hand. Click on a link to follow it and find more information. When there is an image, there can also be links. Drifter remembers what pages have been viewed as history. arrow will go forward to the next page in Drifter’s history. This To get back to the previous page click on the Click on the Click on the Click on

arrow at the top of the Drifter.

to view the full history and to jump around previous pages. to go back to the start. Click on

to print the page.

when finished.

The style of the text in the drifter is important. This is the style of normal text. QWERTY Shift, PRESET COUNTER is the style for control panel keys. This is the style of important information.

Printing Pages of the Drifter can be easily printed. ESP Print must be installed on the SGI that hosts the printer. ESP Print is a powerful printer driver for SGI IRIX that supports over 1100 different printers. It is sold by Easy Software Products. Download and purchase the software from http://www.easysw.com/ Install the software and set the printer as the default in the SGI Printer Manager. When correctly installed this

will appear at the top of Drifter.

Click to print the current page. Press and hold to access a menu, this allows the entire manual to be printed. This is over 100 pages, so make sure there is plenty of paper.