What I do is use the DVEous. Artwork, matte and shot clock in to whatever auxes you decide and in whatever order. Key the DVE as one composite. I use one of my DSK's to key it. On a Kalypso you could build a macro to select say key 4 on me 3 and to key it but I don't.

Mike, One other thing... Since they are starting to crew for basketball. How do you handle a shot clock possibly with artwork. greg

Thanks for the info guys... It would have been nice if I didn't skip the 3k and 4k switchers. I think that trying to shoe horn my thinking process from the kalypso into the older switchers is a more of a challenge than if I had the option to learn the 4 and 3 befor the Kalypso. thanks for the info once again greg

Greg having done more sports on a 4K then a Kalypso, I agree with pretty much everything Mike has said. Director does have to realize that you are limited on keys. Sometimes I will also have a setup in ME 2 for like cg2 over a camera.

Greg, DSK 1 is set to one of my CG channels and on all of my timelines I have that change to the DDR on the second KF. Tele would be normally DSK2, if that keyer has the drop shadow option. I have a source hold on that so if the tele burps during the show I can punch black on that keyer to rid myself of the tele. Most bug boxes have built in DVE's, so I don't worry about that much. If I have to fake a bug box I use ME 1 in Layered mode, re-entered into ME3. On ME 3 I set key 1 as my CG1 and key 2 as my bug box and I let graphics and the director know that channel one is where everything SHOULD come from except things like coming back from break, etc. If I have a EVS key I usually will manually change key 1 on ME3, sometimes DSK1.

took everyone's advice and used me1 - a clean from me3 & me2 crosspoint - built into timeline to trans from me2 cln to me2 cln on me1. thanks for the advice. I did think of something and was wondering how a show could be handled. I normally work with a kalypso and have limited time on a 3 and 4 k. Assuming you have two channels of font, fast fordward replay, bug, a dve for clock and a red/blue evs key (maybe only for pre-pro) and a tele, how would you handle all the keys? Since I am starting my freelance career out I am seeing more of these switchers and am sure I will see this in the future. thanks greg

[quote="JohnHowardSC"]Greg, these are all excellent suggestions. Just to add one more, I too would map the M/Es clean to the shift side as well but dedicate an Aux for the "Clean Show." Just include it in your Replay Timelines and it will do the work for you without having to tie up an M/E. They will only get cuts going to and from Replay but it should work for what you would need. JH[/quote] This is also a good point if you don't need the replay move in the clean. I think I have done more of these where they have a generic move but don't want the fonts. That is why I need ME 1. Best is when you have a Kalypso :)

thanks for the suggestions... Bill that is exactly how I was thinking about doing it. I was wondering about the scan line shift. I believe the show is edited down for a second run. ( I could be wrong on this).

[quote="Bill D"]Most of the time you also need a frame sync for the ME 3 clean output[/quote] Correct if you're on a 3000; unnecessary if you're on a 4000. On the 4000, however, the re-entered M/E will be one line lower than your primary sources. So, on a 3000 the clean feed will be a frame behind; on the 4000, the clean feed will be 1 line lower.

Greg, these are all excellent suggestions. Just to add one more, I too would map the M/Es clean to the shift side as well but dedicate an Aux for the "Clean Show." Just include it in your Replay Timelines and it will do the work for you without having to tie up an M/E. They will only get cuts going to and from Replay but it should work for what you would need. JH

[quote="Mike Cumbo"]What I have done in the past is to map ME2 and ME3 clean as shifted crosspoints and tie up ME 1 doing the clean feed. For pre-production and halftime I use ME1. Now some people say in their paperwork that they want the replay branding but on site they let you just use an aux bus. (cutting from one ME clean to another.)[/quote] I have also done it this way. I make sure they know the limitations, no compositing bugs, no effecting from replay to splits. I take ME 3 clean as source in ME 1, and transition to ME 2 clean in ME 1. I have a ME 1 timeline that runs at the same time as the main replay timeline. In this way you can give them the replay brand, or a dissolve. Most of the time you also need a frame sync for the ME 3 clean output. ME 2 clean only need if you are branding your main replay.

What I have done in the past is to map ME2 and ME3 clean as shifted crosspoints and tie up ME 1 doing the clean feed. For pre-production and halftime I use ME1. Now some people say in their paperwork that they want the replay branding but on site they let you just use an aux bus. (cutting from one ME clean to another.)

Give them ME3 Clean and have a GPI loopback select your replay ME on ME3 when your animation comes full. They would have to live with the branding. If they really need it you could make it dissolve but I've found most of the times they don't care if it's a cut, they just need the video. If you want you could manually punch your replay ME, but that leaves you open for forgetting or being late.