Randy, no need to follow anyone if what you do works for you. On a kalypso you could build a macro to possible remap the sources feeding the tele crosspoint, but on a 3k/4k you would have to do a quick remap. Now that isn't an issue IF you happen to not be in the middle of a replay or other transition. As long as you have a plan, you should be OK. (Having engineering patch black into the tele crosspoint also has been done, just kill the keyer.)

<> Mike, I guess don't have a good plan for the that, which is why I should do it your way :-) Thanks for your comment also Lou. I guess I don't mind "moving all across the board" as you suggest, because I switched news for over 15 years before going into this full time, so I'm used to it. Also, I don't do the big network shows like others who may post here, so perhaps it's not as much to remember.

Brad, when I am on a Kalypso and I have a blasted tele I always have black re-entered and that is labelled as "Black2". It is black with black as the key signal. Some US trucks do have the second black already in their input mapping, some require the TD to ask for it. As for how I do my replays, again on a Kalypso, I create macros that select each VTR on ME2 A bus and B bus. I then REPLACE ATTACH them on the key 1 and key 2 buttons above P/P. How often do you key a VTR on the Program bus? I also build a ME2 dissolve and attach it nearby my right most VTR macro. I then do not have to touch ME2 except to add a CG if needed. If I have time I also will build a "Tele IN" and "Tele KILL" macro as well. I do not have RUN as part of my VTR selection macros. Too many producers out there still have no clue about where they to go. Maybe if I was doing a season with a producer, but I have been caught mid transition several times where they are changing their minds.

On a Kalypso, "Black" has a full-frame key signal, and so gives the impression of cutting to Black if you substitute it for a CG. (That's if you run your show with Source Hold "Off".) An OB truck I use has Black as an external source available, and so I can create a new "Ext Blk" Source in Engineering that uses the same external Black for the key signal, thereby creating a Black that keys as invisible. Switchers like the Sony allow you to configure Sources to have "Black" or "White" as the key signal, or a physical input. Kalypso would do well to do likewise. brad

[quote="rmerritt"]I use M/E 1 for replays when on a Kalypso and macro machine selection using macro buttons above main crosspoints for each machine. They are always in the last row of eight with the last macro button programmed to "RUN"... that way I can switch all replays on the marcos, with the exception of second and third looks. This also puts all other "stuff" on M/E 2 at a closer reach. Randy[/quote] You can always build macros that "set" the dissolve in M/E1. So the first set of macros will recall the tape machine and replay effect, and the bottom row of P/P Keyer macros will simply punch the tape machine readying it for a dissolve, and even have a macro that hits the M/E1 dissolve button. You never have to move your hand up to M/E1 then (just don't fat finger it which then recalls that tape machine and replay effect). Seems to me like your set-up involves a lot of unnecessary moving around all over the board. Also, seems like you have to do a lot of remembering where stuff is.

Randy, just a question for you. In your setup, using DSK k2 for both tele and FF, what is your "oh bleep" plan in case the tele dies mid show? I use a source hold on the tele keyer, so that if the blasted thing dies I just punch black rather then trying to remap mid show. When I do think of it, I do have K1 change from CG1 to DDR, that is IF I remember to do it.

I have never met a TD who doesn't switch play on M/E 3. It's for the reasons Mike and Rick mentioned and it let's you get to cameras quicker because you are pushing emem buttons and not crosspoint buttons. The only time I push the crosspoint buttons is when taking a camera over 10 or switching under a CG. I may be different than most in that I like to switch non-play on P/P. I think this is because I worked many years in the studio world. I usually don't cut to M/E 3 until play starts. I always use keyer 1 on DSK for CG and use keyer 2 for tele and FF. Last and first KF's have tele keyed...all in between have FF. I worked the Predator's home show the other night and used Russ Hall's board set. It was challenging for me to remember that I HAD to be on M/E 3 to do a CG key. This is all referring to 3/4K....obviously Kalypso opens a few more doors with the extra keyers. I use M/E 1 for replays when on a Kalypso and macro machine selection using macro buttons above main crosspoints for each machine. They are always in the last row of eight with the last macro button programmed to "RUN"... that way I can switch all replays on the marcos, with the exception of second and third looks. This also puts all other "stuff" on M/E 2 at a closer reach. I use M/E 2 for replays on a 3/4K since you have no choice but to switch on the M/E and M/E 2 is closer. When the replays require no branding I replay directly to the machine on P/P B. This may be blasphemy to most TD's, but it works for me. This is probaply more than anyone wanted to know, but I'm curious as to how oddball my methods might be compared to others. Randy

Does everyone set up this way? I am sure some td's have some modifications to this general setup. Anyone care to share their board layout?

It also falls back (in my opinion) to older switchers that only had one or two keyers per bank. By switching on M/E 3 (on some of the older switchers), you now had access an additional keyer. On a 1600 series you could have a additional keyer, on a 300 you would have 2 additional keyers. By switching "up stream" you added keyers for a graphics and DVE and a Telestrator on the DSK keyer. This also holds true for the Kalypso and other switchers of this generation. With shows becoming more and more complicated, and your needing clean feeds on a certain level of shows, this still allows you more flexibility depending on how you want to break it down and what give you more control.

Primary reason: unless all of your effects are controlled by macro it is slightly difficult to build every timeline needed to control your DSK's IF you cut the show on P/P. Just think, go to a replay with a CG ON but come back with it OFF. On a DD-35 you could, but then with the three keyers in the DSK you are limited. Yes, you could have source holds on every keyer and then build every timeline with the keys on, and just bunch black for the sources but forget once and all hell breaks loose. Just think of say eight DDR effects for the show and the combinations of with CG1 ON or OFF, what about CG2 ON or OFF and don't forget about our friend the scorebug... Oh, and bug ON but CG1 OFF or CG1 ON....