Thanks Bill, great explanation, I'll use that template in the future. I think if I get a show with a Kalypso I might need a full day set up. Did you ever hear of my old buddy Frank Araneo, a Union H.S. pitching and hitting star in the mid 70's? I played ball with him at SHU, he went fairly high in the draft if I remember. I actually played H.S.ball in Philly but went to SHU and then lived there for a while. Was up in lovely Mountain Lakes, NJ last summer. thanks for the info, hopefully I can pick you brain in the future Knute knuteob@gmail.com

[quote="kobrien"]Bill You build a seperate macro for each replay VTR. This gets machine X punched in bus A of the replay ME, then cues up the timeline that will run the DDR, key it and undercut the replay ME. Why do you need a 3 or 4 sec delay on that maro? I understand the need for a 3 or 4 sec hold on the run macro, that gives it time to run the effect before the replay on time line is cued up. I'm sure it's something simple that I am missing or not seeing![/quote] No I have one macro that calls up the replay move (on) and that is it. The rest of the macros that select the VTR and run, simply imply that during the course of a game you will have your replay effect called up. If you use a billboard or some other bump effect just recall the replay effect once you get back into game action.. Those VTR macros are simply hitting the VTR as a source and then hitting run, the 3-4 sec delay is to then have the macro call up your replay off effect. Your replay off macro is simply run, delay 4 seconds, and call up your replay on wipe. So during a course of the game your replay on is always cued, all it is waiting for is the run command basically.. [quote="kobrien"]Do the rules for source holds on timelines apply the same way as on the 3k/4k/ Program with them off then MOD after the timeline is built? Is it much of an adjustment building a timeline on the Kalypso compared to the 4k? It was a big adjustment after being on the DD35 for years then sitting down at the 3k.[/quote] Source holds are keyframe based on a Kalypso, if you are doing a undercut then yes build with them off, then after timeline works, add them later. Once you get comfortable, you can have a few macros, that turn on a keyer, and do the undercut and then put these macros in your timeline, easier once you get the hang of it to build a timeline probably. Building timelines coming from a 3K will be very easy, harderst part for me was finding stuff in the menus. You can dowload the GUI from GVG's website to get an idea where things are ahead of time [quote="kobrien"]thanks Knute I'm and old Jersey guy used to play baseball for Seton Hall Uni. back when they had a half decent ball club[/quote] Where did you play HS baseball?, I played at Union HS '90, and then a year at William Paterson. Bill

Bill Thanks for the info. I agree that I need to build the timeline first then get to the macro's. I use macro's alot on the DD35 so I'm comfortable with them but let me make sure I am seeing what you explained. You build a seperate macro for each replay VTR. This gets machine X punched in bus A of the replay ME, then cues up the timeline that will run the DDR, key it and undercut the replay ME. Why do you need a 3 or 4 sec delay on that maro? I understand the need for a 3 or 4 sec hold on the run macro, that gives it time to run the effect before the replay on time line is cued up. I'm sure it's something simple that I am missing or not seeing! Do the rules for source holds on timelines apply the same way as on the 3k/4k/ Program with them off then MOD after the timeline is built? Is it much of an adjustment building a timeline on the Kalypso compared to the 4k? It was a big adjustment after being on the DD35 for years then sitting down at the 3k. thanks Knute I'm and old Jersey guy used to play baseball for Seton Hall Uni. back when they had a half decent ball club

[quote="kobrien"]Hey Bill and Rick I have a minute here so if I could run through what I think you advised. I really like the idea of having a macro for each replay machine. If I understand you correctly you make a separate macro which takes a replay machine( blue or A or what ever they are called) in your replay ME then runs the timeline to get to the replay. ( I like this because on the 3k/4k I was hitting the run button then reaching up and punching the correct machine on the replay ME because I knew I had 37 frames or so before it got undercut. Living dangerously! ) Do you go to a separate macro for the replay out or attach it to the original macro? could probably do it either way. Thanks again and if you think of anything else, keep me in the loop, I appriciate the help and the time thanks Knute[/quote] Knute, record macro, hit Vt X in ME ?, insert a delay of lets say 3.5 seconds. Then call up emem XX (replay off move). end macro Do this for each VTR. For replay off record macro, run button, insert delay of 3.5 seconds. then call up emem XX (replay on). Theory would be having one macro to just call up replay on move, after coming out of any other effect, bump in etc. as Rick said keep it simple to start, get the timeline's built, then move on to the macros, etc if you have the time Bill

[quote="sahonen"]Downside of "Show Macro" is that it hides your actual source names. A workaround is to put "dummy" sources on the shifted side of P/P with the same names as youir macros, then set the source name display to shifted over unshifted, that way you can see both the sources and the macro names at the same time.[/quote] That is a great idea.. Usually the macros I had were tape deck associated so they worked and matched up with the sources. Bill

Downside of "Show Macro" is that it hides your actual source names. A workaround is to put "dummy" sources on the shifted side of P/P with the same names as youir macros, then set the source name display to shifted over unshifted, that way you can see both the sources and the macro names at the same time.

You don't need to "rename the pgm/preset names" - the Macro controls will display the names of each macro in the Source Name Display by pressing the "Show Macro" button. Usually your macro row is the Pgm/Pst Key1 row of buttons (when "Macro Deleg" is pressed), and the display corresponds to the buttons on that row. (You do need to name the macros, though.) I often attach VTR macros to the VTR buttons so that cutting to a VTR on the Pgm row causes a transition to that VTR. If I really wanted to perform a cut, I would preselect on the Preset row and use the Cut button. This allows me to leave the Pgm/Pst bank with actual Source Names being displayed, in case I wanted to cut directly there in an emergency.

Transform Engines are internal DVEs that seamlessly integrate into a keyer. You can put, say, a Chyron in the keyer, hit "Transform Enable" and fly it around like it's 2002. There's no routing, the switcher automatically finds a free TE and routes the keyer source through it and back into the keyer transparently. Really nice part is the TE settings stay with the keyer, not the TE, so an effect with a TE is just an M/E recall.

Hey Bill and Rick Thanks so much for the info. The funny thing is when I was doing sports back in the day we were just doing white flashes to replay, usuing the DVE (usually an A53) for billboards and maybe fly in some full screens, which seems simple now but I was doing alot of this by hand, calling up DVE moves, ect., so the potential for a screw up was big. Now with the timelines/ macro's once you get the thing built and programed it is not too bad. I was taught many years ago that a real TD knew how to punch a show in case the EMEM wasn't there or you got into trouble. Not an option on todays shows but I do agree with you that you have to learn the switcher and not just rely on macro's to get you there and not know how or what you are doing . I train TD's on th DD35 and try to give them that piece of advice. I have a minute here so if I could run through what I think you advised. Build your DVE or DDR cue in the timeline on the master EMEM and what ever snapshot you need to get into the replay. Build a macro that cues up that timeline and gets it ready to run Rename the pgm/preset names to reflect the macro names. It sounds like the Kalypso doesn't have a dedicated row for the macro's like the DD35 I really like the idea of having a macro for each replay machine. If I understand you correctly you make a separate macro which takes a replay machine( blue or A or what ever they are called) in your replay ME then runs the timeline to get to the replay. ( I like this because on the 3k/4k I was hitting the run button then reaching up and punching the correct machine on the replay ME because I knew I had 37 frames or so before it got undercut. Living dangerously! ) Do you go to a separate macro for the replay out or attach it to the original macro? could probably do it either way. Not sure what the "Transforms engines"are but I'll take a look at the GVG web site and the Kalypso user manual. Those thing are great but I need to punch buttons before it sticks in my brain. I think I'll like the switcher, had a long history with GVG, I started out on a GVG 1600 with a Qunatel 5000, but I just hate sitting down on a new switcher and having to go live on-line in 4 hours. I live in San Diego and no one has a Kalypso in town that I can play with, such is life. It will be sink or swim on day :) Thanks again and if you think of anything else, keep me in the loop, I appriciate the help and the time thanks Knute

[quote="Rick Tugman"][quote="Bill D"]Rick he asked how you would use macros on a sports event, that is how I use them. Bill[/quote] Sorry Bill, you know after reading this a second time I see what you were talking about with regards to the macros. My bad, but like everything with me lately, I'm always running and I wanted to try and help Knute feel more at ease. He did say he was new to the Kalypso so I wanted to reply I probably didn't comprehend the whole post. In my experience the only thing different with Kalypso macros over the DD35 is you can't edit them as you can on the Philips. I believe I was originally told that the macros on the Kalypso were developed by the same software engineer to wrote the software for the Philips switchers when Thompson took over GV. But the macro editing page doesn't seem to be anywhere on the Kalypso. In any event Knute should not be afraid of the Kalypso and if he keeps in mind some of the things he knows from the 3/4K, and what he knows of the DD35, his transition into the Kalypso should be nothing to worry about. It's just figuring out where all those buttons are!!! :-)[/quote] Rick, no big deal. I agree with what you wrote as well, I never really got much kalypso training, I learned a lot here and from a few people. Knowing a 4K makes it very easy to put a basic show together. Obviously we all strive to make it as easy as possible maybe not the 1st or 2nd time on the board, but eventually. Macros make it very easy. It almost feels like not even a challenge building a transition with macros, keying and undercutting, so fast and easy. get and put to the next emem/DDR and adjust timing, etc. The biggest difference in macros between the DD35 and Kalypso besides no editing is the lack of a dedicated row to show the macro names. Ohh also the ability to build a macro put it in a timeline then erase, so you will never run out of macros :) Bill

[quote="Bill D"]Rick he asked how you would use macros on a sports event, that is how I use them. Bill[/quote] Sorry Bill, you know after reading this a second time I see what you were talking about with regards to the macros. My bad, but like everything with me lately, I'm always running and I wanted to try and help Knute feel more at ease. He did say he was new to the Kalypso so I wanted to reply I probably didn't comprehend the whole post. In my experience the only thing different with Kalypso macros over the DD35 is you can't edit them as you can on the Philips. I believe I was originally told that the macros on the Kalypso were developed by the same software engineer to wrote the software for the Philips switchers when Thompson took over GV. But the macro editing page doesn't seem to be anywhere on the Kalypso. In any event Knute should not be afraid of the Kalypso and if he keeps in mind some of the things he knows from the 3/4K, and what he knows of the DD35, his transition into the Kalypso should be nothing to worry about. It's just figuring out where all those buttons are!!! :-)

[quote="Rick Tugman"]Bill, no offense but I think that is a little too complex for him. While he is used to Macros using the DD35, he now has to learn a new switcher he has never seen. When I first learned the Kalypso nothing worked on it..[/quote] Rick he asked how you would use macros on a sports event, that is how I use them. It is up to him whether he has the time or knowledge to build a show and use them. As I said just build timelines for all your effects, easier to just do the keying and undercutting in the timeline rather then attaching macros. More info is not a bad thing. I often read postings that make no sense until after I play with them a little, and try using them. Bill

Bill, no offense but I think that is a little too complex for him. While he is used to Macros using the DD35, he now has to learn a new switcher he has never seen. When I first learned the Kalypso nothing worked on it. I was iinitally trained by someone at Grass Valley to do the NFL on FOX game I was working on in San Francisco. If you treat the Kalypso (in the beginning) like a 3 or 4 K then you should have no problems making the transition. The one beautiful thing is, you have more keyers per ME. Don't worry about Macros if your not familar with the switcher that will come to you in time. The one thing that will make your programming a little more difficult is buttons and menus are in different places from what your used it. Getting familiar with the switcher is the first thing you should do. It basically works like a 3 or 4 K and if you keep that in mind when setting up your show you should be fine. All the other bells and whistles you can learn as time goes on. The one thing that will make your life easier is using Transforms engines for your clocks .... Don't let the word transform scare you, it's really not that complicated. You may need to research this forum or brush up on how transforms work to assist you. I too have always and still do use M/E 1 for my replays --- You would not be alone in that regard. There is no reason to change unless you have to. Do what is familar to you and treat the Kalypso the same and you'll get through your show. The rest you can learn as you progress. Good luck.

[quote="kobrien"]I have a question. I have just started TD'ing sports again after a number of years in a studio. I know the 3k/4k from the old days and the DD35 (which is in my shop) but have never seen a Kalypso and if I run into one I want to try to avoid having to reach for my Depends Undergarments.. I do a show on the 3k the standard way by punching the show on ME3 then running a timeline to kick the DDR which is in DSK2 and get me to ME1 for the replay then the same to get me back to ME3 and a live camera. ME2 for the shot clock and other stuff. On the DD35 I use macro's for everything with user wait's in the timeline so the macro sets up the replay then one timeline gets me in and out of the replay. I have tho believe that the Kalypso uses macro's and was wondering how you use them and if you punch the show pretty much the same way you did on the 3k/4k as far as the switcher set up goes. I just became a member and have really enjoyed some of the disscussions that I have read thanks in advance Knute[/quote] The only thing I do a little differently is I use ME 2 for replays (closer then ME 1) I build all the timelines with regular pgm/pst cuts and keys. States usually aren't as much of a concern. Non sports stuff I would use macros for turning on the key and doing undercuts and insert those macros into a timeline. Will work either way. In order to call up DVE efx or DDR's probably easier to just build master emems. So build timelines for all your effects. I would then use macros to call up all your effects, if you are going to punch in ME 3, I would turn the pgm/pst key 2 row into the macro row, and change the pgm/pst source names to macro names. Just have those macros call up emems, and make one of those macros or any other panel button closer to where you are punching to be the run button. (Replace attach macro). The other thing I do is with replays is to have XX # of macros for each tape deck. I would have one macro for the replay recall, which I would call up once you get back into game action. All the other macros, select the tape deck in ME 2, and hit the run button. Then Hold for 3-4 seconds and recall the replay off move. I have one macro to run the replay off, which is a macro that hits run, waits 4 seconds and then calls up the replay in move emem. Then you start over again. So rather then reaching up to the ME to select the tape machine, and hit run, you only hit one button.. takes a while to build but makes it easier to punch the game I think hope that helps Bill