[quote="Seth Madway"]If you get dependant on switching your shows with macros, what are you going to do when you end up on a GVG 3K/4k or Sony 7K? You definitely want to make extensive use of emems & timelines, but be sure you are very comfortable at switching a variety of shows before going too heavy into macros.[/quote] Very good point. In fact, occasionally I'll do a game "old school" just so I don't forget how to puch without macros. Bill, I hadn't considered doing it the way you described...great idea, thanks...

[quote="Mongo"]I disagree, Bill, and here's why: I tried that once, and because my replay effect uses the Fast Forward, it doesn't have enough time to cue up before it runs the effect. I ended up with a FUBAR'd key. So unless you have instant recall, it makes more sense to wait for it to cue, then run it.[/quote] I was going with the assumption that the effect was already recalled, b4 you hit run So have one macro calls up replay wipe, once u get into game action. Now when director calls blue, you hit blue macro that 'normals ME 2' and hits blue on that bus. Then hits run. Delay of 3 seconds or so on macro, and then calls up replay off effect, master emem xx. You also have one macro for replay off. That macro hits run, delay 3-4 second, and calls up replay on effect, master emem XX. During show action unles you fly out a promo or something, you will then need to just call up the replay on effect (seperate macro). Otherwise endless loop of hit macro for your deck, hit macro to fly off. Two buttons for replay on and off.. done.. I also agree with someone else who said learn to build the timelines. There will be times where you don't have macros, good point. Bill

[quote="Mongo"]I've been TD'ing sports for a university for the last 6 years, and done some freelance, and the one piece of advice I can offer is use your macros. They have saved me a TON of headaches and button pushes. In particular, I like to make a macro for each replay source, so I don't have to make 4 or more punches, I can just do 2.[/quote] Advice from an old-timer: For TDs that are just starting out, I would be very careful about building a dependency on macros. Yes, they are great and can save time and keystrokes, but they are also a crutch. If you get dependant on switching your shows with macros, what are you going to do when you end up on a GVG 3K/4k or Sony 7K? You definitely want to make extensive use of emems & timelines, but be sure you are very comfortable at switching a variety of shows before going too heavy into macros.

Mongo Try this. We have a similar situation with the exception we us a chyron apraisa 200 running on ext device control. If we use a macro to recall the effect the time is variable with each cue up We did however notice the if we emem a recall it is almost instant less than 6 frames. I have a similar effect like your replay move macro with the exception at the start we emem recall the effect on the disk, select source pause 5 frames run effect. The macro does some other things at the end like cut key out, recue disk (to get ready for next replay) undercut under effect etc. etc. hope this helps greg

We don't have a Lance controller for the FFW, it runs from the external device control...so it's a little unpredictable just how fast it'll cue up. So I look at the FFW monitors and run it when they get set.

If you insert a delay of 5-10 frames between the recall and run command while building the macro then it will work very well for you and it is just one button push instead of two.

I disagree, Bill, and here's why: I tried that once, and because my replay effect uses the Fast Forward, it doesn't have enough time to cue up before it runs the effect. I ended up with a FUBAR'd key. So unless you have instant recall, it makes more sense to wait for it to cue, then run it.

[quote="Mongo"]I've been TD'ing sports for a university for the last 6 years, and done some freelance, and the one piece of advice I can offer is use your macros. They have saved me a TON of headaches and button pushes. In particular, I like to make a macro for each replay source, so I don't have to make 4 or more punches, I can just do 2. Example: Director calls "Replay effect to Blue." No macro: Select Blue on ME1, making sure no keys are on. Select ME1 on P/P. Select replay effect emem. Hit Run. Macro: Select Macro labeled "Replay Blue." Hit Run. Since I use emem 0 as a default, "no-keys reset" register, I record the macro as: ME1 emem 0, Blue, ME1 on P/P, replay effect on master emem. Then I hit Run, and I'm done. I also like to use them for free throws, like selecting Cam 3 with CG2 on ME1, and for starting and stopping the Fast Forward, etc. I've gotten to where I can almost do our games in my sleep...and sometimes have![/quote] One addition to this is to add the run to your macro. So it is only button press when director yells efx Blue. Rarely is there a ready blue, efx blue for replays. One button even easier then two :)

I've been TD'ing sports for a university for the last 6 years, and done some freelance, and the one piece of advice I can offer is use your macros. They have saved me a TON of headaches and button pushes. In particular, I like to make a macro for each replay source, so I don't have to make 4 or more punches, I can just do 2. Example: Director calls "Replay effect to Blue." No macro: Select Blue on ME1, making sure no keys are on. Select ME1 on P/P. Select replay effect emem. Hit Run. Macro: Select Macro labeled "Replay Blue." Hit Run. Since I use emem 0 as a default, "no-keys reset" register, I record the macro as: ME1 emem 0, Blue, ME1 on P/P, replay effect on master emem. Then I hit Run, and I'm done. I also like to use them for free throws, like selecting Cam 3 with CG2 on ME1, and for starting and stopping the Fast Forward, etc. I've gotten to where I can almost do our games in my sleep...and sometimes have!

I too am taking the leap into Sports TD'ing. This forum is really helpful. My biggest challenge is reprogramming myself from Sony to Grass Valley! :P

Guys, Thanks a lot for your replies. It's all very helpful information. I can't wait to get a chance to give it a try! I'm gonna be on a 4K this week, so I'll play with the layered mode on an M/E so I get more familiar with it. I'm sure I'll be back with more questions. Hopefully you guys will still be out there. --Mike

Hi Mike... Here's what I found worked well - especially for basketball - when it came to doing the scoreclock... I set up the scoreclock over the game camera on M/E 2 and left it there (unless of course I needed M/E 2 for something else temporarily). I would then build an emem on M/E 1 along with my other cameras for quick cutting that would cut to M/E 2 with the clock (I usually put it at emem 0). That way I can quickly cut in and out the shotclock over game. Another thought, I see more and more guys doing their replays on M/E 2. I've always done them on M/E 1 and built elements in-show on M/E 2. I do that mainly because I found that in the past, if a switcher was not loaded with a full compliment of options (border generators, chromakeyers, etc), more often than not, those options were added to M/E 2 and not available on M/E 1 which limited the building capabilities on M/E 1. This is not much of a concern anymore as the practice of optioning everything seems to be going by the wayside as the options are less a hardware function and more a software function these days. That and I have neolithically long arms and don't mind reaching up to M/E 1 to dissolve replay machines. John Phillips

Mike, most score bugs have at least one and some two internal DVEs. IF you run into one without that function then your option, on a 3k/4k, is to use an ME in layered mode to key the bug and the DVE and then that composite is keyed as one source on your camera cut ME. Layered mode turns an ME into a four key source source. Most of us cut cameras on ME3 and then have a P/P transition to another ME for replay.

Mike and Tom, Thanks for your replies. I really appreciate it. The info is very helpful, but of course brings up some more questions. The basic switcher setup is what I guessed I would do if left on my own to figure things out, so that's encouraging. I've been trying to think of how to setup shows assuming a 2 keyer per M/E situation, since you never know what truck you might get, and that brings up a question of the shot clock which Tom mentioned something about. In the basketball (college) I've seen recently, the clock/score bug has a "live" clock (a camera) positioned in it which could eat up 2 keys already if you need to position the clock in the DVE (or use the DVE as a single key with the bug and the game clock composited). Then there's still the shot clock and then chyron fonts......which is where my next question is....how do you guys handle that? Or can the clock/score bug boxes position live clocks in them these days? It's been a while since I've hooked one up, so I don't know if they have that capability. Also, good info about the clean switch of M/E 3 to tape....I wasn't sure if that was necessary or not. Tom, I am a little unclear about what you were saying regarding GPI-ing or Macro-ing a transition on M/E 3 along with a DDR wipe. Are we talking about a replay wipe here? Wouldn't I just undercut on P/P to my replay M/E? Also, I wasn't aware of transitions for rollouts to breaks. That's a good heads up. I assumed it would be a straight roll to EVS (either Key EVS or dissolve).

Just to elaborate on Mike's setup (which is, I think, the way most TDs set up for a game)... For a 4-keyer-per-ME switcher: "ME3 is for cutting cameras, fonts and the bug" K1- font K2- bug K3- shot clock (if you have one) K4- whatever (maybe network bug)- maybe downstream the network bug to have it over the replays on big events *for a 2-keyer-per-ME switcher it gets a little trickier with game clocks, which you might have to key using a different ME in "Layered mode" (Grass Valley talk)... I'll explain further if you need, but it will be a little lengthy. Like Mike said, you can have a basic setup, but each show usually has a few quirky things that you'll have to work around. "PGM/PST does nothing except key my DVE or DDR and is where all my timelines are built": The timelines might have to trigger ME3 to do a tansition coupled with a DDR effect. You can either set up ME3 to do the transition (cut or quick dissolve) with a GPI trigger or with a Macro, depending on the switcher. It will basically trigger the Auto Trans or Cut function of the ME, and makes it easier to "go with font," "go clean," or any combination of key/background transitions along with the animated wipes. This also allows you to take the clean output of the line cut (ME3) and record it to the tape room for replays without the clocks/bug/etc. ME1 and ME2 are up to you, but since you're going to do a lot of replays in sports, ME2 is closer and easier to use for them. Use the DDR to transition to ME2, or with a DVE just put the animated or still elements in the 1st keyable channel(s), and ME2 in the second. Once you get to the replays, just do your dissolves in ME2. Undercut your next source in ME3 and you're ready to go back to action. There are tons of thing you can figure out to fit your way of doing things, and a ton of TDs will tell you their way is the best. Figure out what works for you, and experiment. Come back and post any questions, too. There are a lot of great minds here. They've helped me a bunch. When in doubt, a tasty dissolve always does the trick... as long as you keep it clean... Good luck! Let us know if you have any more questions! Tom

Hi Mike, First, wherever you are you're going to want to find the local crewers. They can probably set you up to go on site and hang out with a TD and you can just pick his brain for an hour, or maybe even hang out and watch him do the show. As for shows to start on, most sports are set up and run very similarly. By that I mean I have one basic setup I use, and then tweak it according to my needs that day. You'll want that consistency otherwise you'll never keep up. I guess an analogy would be driving a car. If everyday you get in a different car where the steering wheel has moved, and the pedals have to be flipped around - you're going to crash. If you standardize the key components, then all you have to do is figure out the radio (I guess we're still talking cars here). Some people will tell you that certain sports require a "special breed" of TD. I have not found that to be true. In my experience, all sports have a pattern you can follow, and then you just need to be able to follow the director. The trouble spots tend to be when the game stops and the director get "creative" (as in, we didn't talk about this, but can you...?) Then you have to think fast and know your setup. I find that if feel like you're getting behind, just keep asking yourself - what could possibly happen next? Of all the effects you've built you'll find there are only a couple that are likely (for example: always have that rollout-to-break effect handy, those can happen quick). As for sports to start on, basketball is probably your best bet - especially regional 4 camera college ball. From there, hockey is pretty straightforward, but can fool you with occasional spasms of cutting. Baseball is quirky and can be complicated. Football tends to be a bigger production all around, but is also pretty straightforward once you've got it all set up. As for switcher setups, there are a couple schools of thought. The way I do it is: PGM/PST does nothing except key my DVE or DDR and is where all my timelines are built. ME3 is for cutting cameras, fonts and the bug. ME2 is for replays. ME1 is where I build everything else (2 boxes, keyable promos, etc). Hope that helps, Mike