ftp://ftp.Panasonic.com/pub/Panasonic/drivers/pbts/manuals/OM_AW-RP505.pdf
The CCU (Camera Control Unit)
You need to be familiar with the stage setup for the day, so you can anticipate where the shots will be. You can use the security monitor to get a stage wide view.
Normal reference points will be Centre stage (pulpit); Pastor role (Usually our right); Worship leader (Usually on our left).
There is a "Power" button on the left that is supposed to be left on at all times. The unit is turned on with the master video "ON" button at the power controller.
If you don't see anything on the monitors it is because the iris has been turned down. This is the protocol when you leave so the cameras do not get burn in when left on a static shot for a week! (?"burn-in").
The Magni Monitor MM-400 Waveform Generator
Calibration of the Waveform Generator
On the large monitor in front of you there is a "A" and a "B" switch. Ch A switches the monitor to Waveform view. Ch B switches it back to camera view.
Turn the Switcher onto "Bars".
On the Magni there is a “Ch A= Program Out & Ch B= Camera Out”(Ch C is presently not in use). We first go to Channel A.
Now you will notice an H and a V Switch on the right. First hit the H switch. This controls the "horizontal positioning" of the waveform. If you move the little scroll wheel you will get the idea. It moves the waveform left and right.
If you hit the "V" switch you will notice that scrolling the wheel moves the waveform up and down. (Vertical ....right!!)
So....if you count the color bars on the program monitor you will notice there are 8 of them ( go ahead...count them!!!) (And while you're at it notice where each color is from left to right.)
WHITE bar is on the far left....and the BLACK bar is on the far right.
Now...look at the "waveforms"......(the green bars on the monitor). The smaller bar on the left represents WHITE. (note: it is not very big...so you might miss it if you just count the big ones)
The last bar then would represent BLACK. on the far right. Notice there are actually two sets of these because there is a horizontal scan (at 525 lines, which represents NTSC) and a vertical scan as well.(NTSC= National Television System Committee, or fondly remembered as Never the Same Color Twice!!)
You will notice a slash line near the middle...this is essentially the ZERO line, so everything above it is positive and everything below it is negative. (It is a graph).
About 7.5 units above this line is a dotted line which represents BRIGHTNESS and is the place where the "standardized BLACK" is supposed to go. So go ahead...put it on "V" and turn the wheel till the black bar is midway on this line.
If you now look way down to -40 you will see anotehr little waveform. This represents the "BLACK BURST". This is where it should be.
If you look way up and at the WHITE bar it should be pretty close to 75%.(Between 70 & 80). The waveform monitor is now "Calibrated" to the color bars on the switcher.
There are a set of buttons on the left labled Enter/Exit and 1,2,3,4,5.....These are used for service techs.
Now Switch to Color Bars
So assuming that camera 3 is set up you need to proceed to do the color correction on each camera.
Turn the "Camera Control Button" to "ON" and the "MODE" button to "BARS."
Hit the Camera 1 button, then the camera 2 button to getr Bars on both cameras.
Switch the large monitor in front of you to Line B to display the color bars.
Make sure the "Gain Control" is set to "LOW". Keep automatic gain control switch on "MANUAL".
Setting up the Switcher
First make sure that the Chroma Key switch is turned "OFF". Otherwise the Special effect generator will not work.
The JVC switcher has to be set up so that you get the top-bottom screen effect so you can compare the color bars. You have already set the SWITCHER to color bars (Top left button).
Turn the "Softness knob" so that it is in "soft" mode, so that the bars blend better. (You will have to look hard to see the blend).
The Orange button goes to the camera you are checking (Camera 1).
To get the proper "effect" the yellow buttons are set to "COLOR" The green goes to "SE" for special effect. This puts the scene up onto the program (live) monitor...(Which is also live to screen and to the outside TV's if they have not been switched from the upstairs "PowerPoint to Jayson's computer"). Set the switcher effect to the "UP/Down "effect. Now we are comparing the switcher's color (bottom) to the camera color (top).Use the Middle lever to move the effect up and down, you will see the effect on the preview monitor.
Get a small screwdriver to adjust the controls on the top right. of the camera controller. The first one is the course adjustment, the second is the fine, 3rd is horizontal control. (Make sure cam. control button is on).
Check your settings with the Magni Monitor.
The circle graph ( Vector) needs to be on and adjusted between the two dots, and each camera should be the same.
Turn the Magni on to the
"Vector" setting. You will see a round circle graph.
The
vector represents the colors. The top of the graph needs to be as
close as possible to the two dots.
You can also check the "Switcher's waveform" using "Ch A". (The waveform monitors "brightness" whereas the vectorform monitors color.)
Note that the 75% at the top represents WHITE ( presence of all colors) and black represents the absence of color.
If you want to magnify the image hit the "MAG" button.
Setting White Balance (And the Iris)
Before white balance can be set you need to take the light meter out of the camera bag, turn the incident side (white globe) away from you toward camera 3, with the control button on the back. Go to the front starting at the centre (pulpit) get the lighting person's attention and set the light level to 160 foot candles. Then move to the pastoral mike side and then the worship leader side. (Left and Right) and set to the same levels. Now the lighting is at the same level all across the stage. (Video people care about this whereas the audience doesn't see this). Look up to check that the pot lights are off.
Now get someone to hold up the white balance card (at the pulpit) and set the white balances on all the cameras. (See Camera 3 for it's procedure).
The White Balance tells the camera what the "WHITE" is supposed to look like. If white is right ...all the colors will be right. It will change do to varying light sources such as daylight or florescents, incandescents etc.
There needs to be at least 60% of the picture on the white card for it to read properly.
Note: with this controller you can set 10 different presets on each camera, the presets remember the iris settings as well as the pan and tilt settings, so start with preset # 1 camera 1 first. The TD should look at the large screen and relay what is seen. (You can save your "IRIS" settings on preset # 10 for instance, so if you change it accidentally you can recall it quickly).
Change your monitor to the stage view. ("B" and shut off color bars).
Zoom in and Focus on the card and adjust the iris so the colors look good. Set up a split screen side by side effect bewteen camera 1 and camera 2 or 3. Press the "A" button and hold down the 'AWC" button ("Auto White Control"). The little green light should flash if the white balance has been successful. If it stays on that means the white balance didn't take. This usually means that the iris is open too much.
(Check to see that gain is on low, Shutter is off, and auto gain is on manual).
The unit has the capability to do TWO white balances A and B......but only use A for now, also the "SCENE switches are disabled so only keep on Scene 1.
To memorize the shot hit the "MEMORY" and hold...all the preset buttons will flash, then pick button 1 to memorize this shot.
SO NOW YOUR IRIS IS SET, LEAVE IT ALONE!!!!!!!!
Now you can set up your preset shots on the other buttons (label them). With the camera on preset #1, move the camera to your next shot (pastor etc) then hit memory and button 2. Remember DON'T touch the IRIS! Do this for all your presets and you will be ok for your iris all across the board. RESIST the temptation to change the iris if you cannot see something in a corner or if they turn down the lights.... as this will totally screw everything up!!!! Use the gain control if you must to take a look, then move it back to low.
There is an ABC ("Automatic Black Balance") button as well. Use it after the White balance.
Now shut off the "CAMERA CONTROL button so you don't accidentally change something once it is set.
Note: The little red "talley" light above the camera button tells you if the shot is live.
Zoom
The “Zoom” control is on the LEFT... the ZOOM Speed control is the little orange button beside it, and controls the speed of the zoom this is handy for quick setups.
For a neat special effect you can start a slow zoom on one camera,and as it is zooming switch cameras if the zoom was live it will continue and give the TD time to then cut to the other camera when he sees fit.(won't work on speed zoom).
Focus
The “focus” control is in the middle (lever). So you focus looking at the monitor in front of you..... see the camera you are on..... Zoom all the way to the subject, then “focus” then zoom back, that way everything you do is in focus.
Iris Control
The “Iris Control” dial is on the left, and controls the amount of light that gets into the camera. Sort of like “F stops”..... you can visually see the color & brightness and set it to the most pleasing amount. We are supposed to iris down when we leave, in case someone turns on the cameras, and they get stuck on the same shot for a week!... hence “burn- in”.
Gain Control
Should be on LOW
Pre-shot Memory
You can set up “Pre-shots” on the camera controller by holding down the memory control, The buttons will all flash. Then while holding the memory button down, push one of the pre-shot buttons e.g. #10, then your pre-shot will go to that shot when #10 is pushed. There are 10 buttons, See “A” and “B” buttons above. Do not set up pre-shots with the ATW button. Actually the white balance on “B” is different too, so just use “A”.
So pre-shot buttons can hold 2 different shots. Either A or B. depending on whether it is camera 1 or camera 2, or you can set them up to take the same shot, just incase you need to get to it quickly and you are on the wrong camera.
You usually set up where the speakers are going to be located ...i.e. the center.... for HENRY.....and one of the sides, for the other speakers. This way, you don't have to fool around trying to get the shot established. Camera 1 “shakes”(Faulty) when these are used, so you have to wait for the shake to stop to use the shot.
Other Duties etc.
One of the jobs of the camera controller is to take out the “VIDEO JUICE” and insert and cue-up the video on the player. The “Time code” is used, so when you put in a tape, rewind and zero it; the numbers will always be the same. (Starts at 10). Then give it a 3 sec. pre-roll.
The big TV at the top to the left of the whole thing, is a security camera monitor that takes a center shot of everything,..... it is poor quality, but you can look at that to tell when people are entering the stage area. (Used by the “T.D”, (Technical Director)).
There is a SATELLITE controller on top of this monitor. By the way, the “B” button on the program monitor, switches to this system as well.
Note that Connecting to the Video patch bay will disconnect the switcher.
Other buttons on the controller are: the T- Pod is a brightness adjustment which doesn't work. The DEF is a defrost button; WIP is a windshield wiper;H/F is a heater fan; EXT is a lens extender; ND is a neutral density filter; OP is an option button. neither of which are hooked up to our system and should all be off!
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