Bob, I have done the MOD-MOD in a macro before, it worked for me. TV9, copy your telestrator keyer to ME1 key1 (or some other ME & keyer combo). Then create a macro to copy it back to your P/P keyer and hit MOD-MOD (or as Bob has said, hit Mod-all in the menu). Now call up each effect, hit your macro. I do this all the time for other things... But I do as you have said for the tele color, and re-enter a background as a source and key it with the telestrator. Now I can have a different color for every client, and not have to change any of my effects, just the background color. I do not split key the background with the tele key, cause then I'm in a split key mode if I need that keyer for something else, and I don't want to worry about source memory. As far as screwing up your transition in the timeline, I have found that it only screws up the 1st one, but after that, it's fine. So I PUT the 1st reg I'm working on into Reg 91, then when I'm done, I PUT 91 back into 01 and hit my macro again. --- Dan

What works for me is building timelines with the crosspoint holds "off". Build your timelines as you normally would, then when the Tele is ready, key it, color it and mod-mod the timeline. Now go and add crosspoint holds and do your mod-mod on the Kalypso or a learn-mod on the 3K and 4K Scott

If you're going to build a macro that will change all of the parameters, remember that macros won't recognize a double-press of any button. Therefore doing a double-MOD won't be recognized as a Mod All. However, in the Timeline Edit menu, there is a menu button for Mod All, both as a relative change and as an absolute change. Mod All relative means that if you change a color from green (hue=210) to blue (hue=310), the system knows that you've change the hue by 100 degrees and will apply that 100 degree delta as the change (and would thus change red with a hue of 100 to green with a hue of 200...it wouldn't change it to blue like you'd think) - this is good if you want to reposition a TE channel relative to where it used to be. Mod All absolute means that the exact parameters that you enter will be applied. So if you changed a color from green (hue=210) to blue (hue=310), and did a Mod All absolute, ANY color would be changed to a hue of 310. If you did this after repositioning a TE, the TE would never move around the screen on its timeline, as all X & Y values will be the same for all keyframes. Both of these examples are based on parameters that would be different on a keyframe-by-keyframe basis. If your tele color didn't originally change on different keyframes (and why would it?) then either an Absolote or a Relative Mod All would look the same. But if your colors change, or if you have a TE that moves around, these two types of Mod All will behave very differently. The good thing, though, is that you can get to them via a macro so that you don't have to do the Mod by hand. BTW, doing a double-MOD on the panel does a Relative Mod. If you change something (such as a TE position) and bring its value to the keypad by pressing the X,Y, or Z button & just hit ENTER with the existing number- or if you go to the menu, activate a data box for the parameter & just hit ENTER for the existing number - now, double-pressing MOD becomes an absolute MOD; and you may get very different and/or unexpected results depending on which method you use.

I have been saving the E-MEMs back to my thumbdrive after I build my "Finished" timelines so if something happens I can copy things back to the frame. The MOD MOD has come back and bit me many times so I had to come up with another method. I have not found the UNDO function to work well for me but I've used it a few times...

I remember doing this on a 4K was brutal. I would end up making it look like they wanted, doing a keyer copy to an ME. Called up next timeline, copy back down, mod/mod, etc. Thankfully we are talking only 10 effects back then. This may be a good reason to use timeline macros in the effects instead of pgm/pst. Sony may handle this a little easier since you can take a keyer out of timeline's. or use a keyer snapshot.

Jumping on Mike's bandwagon ... one thing that I try to do is duplicate all of my timelines at registers that are maybe 50 and up. That way, if I do a MOD-MOD, or if I do something dumb that messes-up my effect, I can always go and quickly rescue the effect in it's original state. I've found that there are some operations that 'UNDO' just doesn't undo... :-)

One thing, if you do this to a timeline with a transition you have to be careful otherwise the MOD MOD can mess up the transition.

If you make your changes, then hit "mod" twice, it will change that parameter on all the keyframes in that timeline.