Mongo, you're right it's more macros now. But like you said, it's the same truck 80% of the time for the home shows here in SoCal (Mountain Mobile 10HDX with a Kalypso). And since I would cut my duel the same way, there's no learning curve when I'm in front of the "My First Switcher". But there's enough stuff in between that I don't forget how to build timelines. Dan, like the idea of changing the PVW monitor...might start using that too!!

Dan, I really like the idea of changing the preview monitor as part of the macro...Hadn't thought of that. BTW, I learned to TD on a Grass 200-2, but now I'm normally on a Zodiak. HUGE difference! And I still feel like I'm only scratching the surface of what it can do... Jeremy, it seems you use more macros than emems, which is great if you're on the same truck all the time (which I usually am), but for those times I'm on something else (non-Kalypso/Zodiak) I'd be hosed. I don't have enough experience on the 3/4Ks to be comfortable basing my shows on macros. Good tips, though, for my home shows. Good ideas all...Keep 'em coming!

I usually have Macros to replay to each machine. A dissolve to each machine while in replay. A macro to effect off replay and reset me to replay on. If I have to lose the Score Box to put in a CG I'll macro that. I'll put a macro to change the trans rate on a wipe, and then another one to change back to dissolve with the correct trans rate. I've even created some so that when I hit ME3 in Preset, it changes my preview monitor to ME3 preview (and ME2, and ME1). I've done some that I can cut to a camera with a CG, so the next time I hit one, it would the take the camera clean, put those in the keyers above ME3's camera Xpoints. Or if there's a camera that you always go to with a bug on it, or a Super Mo graphic or such, it'll take that source with the bug. Or in a HD show, with 4x3 sources, puts wings on the source. A telestrator On & Off macro. I don't do much with them unless I need to, cause it's another thing to program, so I'll do them last, as a way to make things easier during the show. I'll often program them during the show, or during a commercial break (not as easy on a Sony, cause you have to recall the Macro in order to attach it). And yes, when I'm on a 3/4000, I find it harder to to TD, but I'll enjoy TD'ing again and not sitting back as much, and at least it's not a 300, or a 250. --- Dan

Hi Jeremy .... yes it is easy your right, much more flexibility and it is nice and lazy. I love doing it that way too, but I can't get totally used to it because I see a lot of 3/4 Ks here at home that are not wired. Yes Jeremy, you will see me for baseball. We're slated for Anaheim during the 1st week of May.

True, but almost every local show in town is out of Mountain Mobile 10HDX, and I don't travel out of the area too much. It's such an easy setup, much more flexibility, and nice and lazy!!! See you for baseball this year Rick?

Jeremy ... I 've been doing somewhat the same thing, but with GPI Triggers. Nice and easy, but some trucks still aren't wired and then you still have those 3/4K's out there so you can throw all this out the window most of the time. :)

I've just started using a new system to cut the shows in town, based on my dual show setups. It also helps out when there's a dual in the truck and I lose ME1. The only timeline I build is my replay, from ME3 to ME2. Everything else is macro's and the Spotbox. For example: KF1 - Cut K3 KF2 - Play Spot KF3 - Cut Pgm/Pst (or dissolve as necessary) KF4 - Cut K3 and recue Spot Now I don't have to worry about using fonts downstream, because the PGM cut macro doesn't care. These effects I build in Bank 0. I copy to Bank 3 and replace the PGM/PST cut macro with an ME3 cut macro. In essence, I cut my entire show on ME 3 now, only going to ME2 for replays. My macro list - pgm/pst cut and dissolve me 3 cut and dissolve me 2 dissolve pgm/pst Key3 cut (Spotbox) tele on and off (sourceheld on Key4) Font 1 and Font 2 insertion on ME3 clean cameras on me3 all effects ME3 Key4 for EVS promos (selects the source of the day and mixes the key in) I cut my show on ME3, not using EMEMs, so with my left hand. Keyer 1 bus is replaced with cameras/fox box macros so I can cut clean. Keyer 2 bus source 3 is font 1, source 4 is font 2. Source 9 and on are my effects in the 30's. Black preset is a macro for an ME3 cut and Key 1 cut (presetting a camera and using this macro lets me "take with"). I shift ME2 sources over so the tape machines replace the cameras and the cameras go where the machines normally are. The ME2 dissolve goes on ME2 PST Source 1 (Black) My left hand never leaves the left side of the board. This leaves my right hand to search for adult educational material during the game!!!! Probably forgot a thing or two, but that's the basics....

If the show has a tele I will have keyable black mapped somewhere on the switcher labeled as BLK2. I have a "Tele KILL" and "Tele IN" macro so I can add or remove the silly thing with one button push. The macros either select the tele source or BLK2 for me on DSK4. Since I do a lot of away shows and get some marginal production people, I avoid the replay to a specific VTR macros. I have had too many "fly to X, no B!!..... forget the replay, it's not cued."