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OS/2 Help File
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ΓòÉΓòÉΓòÉ 1. Installation and Device Setup ΓòÉΓòÉΓòÉ
Welcome to Ultimotion Workshop/2 Beta, which provides support for recording and
editing digital motion video in the OS/2 environment. The following sections
describe how you can:
o Configure your video capture adapter
o Set up your videodisc device
o Hook up a camcorder or other line device
o Install Ultimotion Workshop/2 Beta
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 1.1. Video Capture Adapter Requirements ΓòÉΓòÉΓòÉ
Depending on the adapter you have, you might need to supply information during
installation of Ultimotion Workshop/2 Beta software. For example, some adapters
require you to supply a base address when you install the hardware. The system
also needs to know this information when you install Ultimotion Workshop/2
Beta.
Some adapters have setup programs. For example, the Video Blaster adapter has
a setup program called Video Alignment PM.
If your video capture adapter was configured for a previous Beta release, it
has to be reconfigured for this Beta release using a new version of the ADF
file. ADF file name information is provided for each adapter. To read about
your adapter, select its name from the highlighted list.
Video Capture Adapters
Video Capture Adapter/A
Jovian SuperVIA/PC
Jovian SuperVIA/MC
Jovian QuickVIA
Creative Labs Video Blaster
Sigma Designs WinMovie
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ <hidden> IBM Video Capture Adapter/A ΓòÉΓòÉΓòÉ
The @704E.ADF file in the \MMOS2 directory contains information for the
configuration of the NTSC type of the IBM Video Capture Adapter/A (VCA). This
file is included in the Ultimotion Workshop/2 Beta.
If your VCA card was installed and configured by a Beta release before this
one, you must reconfigure your adapter with the Ultimotion Workshop/2 Beta
version of @704E.ADF.
To reconfigure your adapter:
1. Copy the @704E.ADF file from the \MMOS2 directory to a blank diskette.
2. Follow the instructions in the VCA reference manual for copying an options
diskette, using the diskette you made that contains the @704E.ADF file.
For this procedure to work, ensure that the date of the Ultimotion Workshop/2
Beta @704E.ADF file is later than that of the @704E.ADF file shipped with the
adapter.
IBM Video Capture Adapter/A (PAL Type)
To install support for the PAL version of the VCA card, use the same
instructions as those for the NTSC version, except use the @70CE.ADF file,
rather than the @704E file.
Purchase Information
The NTSC type of the IBM Video Capture Adapter/A can be purchased by calling
1-800-426-9402. The PAL version of the VCA card is no longer manufactured.
However, some might still be available in supply channels.
ΓòÉΓòÉΓòÉ <hidden> Jovian SuperVIA/PC ΓòÉΓòÉΓòÉ
1. Follow the installation instructions supplied by the manufacturer. When you
select the base address for the SuperVIA adapter, write it down. You will
need to supply it during installation of the Beta.
2. Install the Beta and select this card.
Purchase Information
The SuperVIA/PC adapter can be purchased by calling Jovian Logic at
1-510-651-4823.
ΓòÉΓòÉΓòÉ <hidden> Jovian SuperVIA/MC ΓòÉΓòÉΓòÉ
Follow the installation instructions supplied by the manufacturer.
Do a DIR of the SuperVIA utility diskette to find the @6C7F.ADF file. Some
versions of the SuperVIA utility diskette have the @6C7F.ADF file hidden in a
packed file. To unpack the file:
1. Run the INSTALL program stored on the utility diskette.
2. Copy the @6C7F.ADF file from the \SVIA directory to a diskette.
When you read the instructions in the SuperVIA user manual for copying an
option diskette, substitute the diskette containing @6C7F.ADF for the SuperVIA
utility diskette shipped with the card.
When you select the base address for the SuperVIA adapter during Set System
Configuration, write down the address. You will need to supply it during
installation of the Beta.
Note: Do not choose 0DC000 as a base address, because this value is not
processed correctly by the Jovian ADF file.
After installation of the hardware is completed, install the Beta and select
this adapter.
Purchase Information
The SuperVIA/MC adapter is no longer manufactured.
ΓòÉΓòÉΓòÉ <hidden> Jovian QuickVIA ΓòÉΓòÉΓòÉ
1. Follow the installation instructions supplied by the manufacturer. When you
select the base address for the QuickVIA adapter, write it down. You will
need to supply it during installation of the Beta.
2. Install the Beta and select this card.
Purchase Information
The QuickVIA adapter can be purchased by calling Jovian Logic at
1-510-651-4823.
ΓòÉΓòÉΓòÉ <hidden> Creative Labs Video Blaster ΓòÉΓòÉΓòÉ
1. Follow the installation instructions supplied by the manufacturer.
2. Install the Beta and select this card.
3. Before using the Video Blaster you must run the adapter's setup program.
Double-click on the Video Alignment PM object in the Multimedia folder.
Purchase Information
The Video Blaster can be purchased by calling Creative Labs at 1-800-998-LABS.
ΓòÉΓòÉΓòÉ <hidden> Sigma Designs WinMovie ΓòÉΓòÉΓòÉ
1. Follow the installation instructions supplied by the manufacturer. When you
select the base address for the WinMovie adapter, write it down. You will
need to supply it during installation of the Beta.
2. Install the Beta and select the QuickVIA feature, which also supports the
WinMovie adapter.
Purchase Information
The WinMovie adapter can be purchased by calling Sigma Designs at
1-800-845-8086. Their fax number is: 1-510-770-2640.
ΓòÉΓòÉΓòÉ 1.2. Video Capture Adapter Table ΓòÉΓòÉΓòÉ
The following table lists the video capture adapters supported by this Beta
release.
ΓöîΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö¼ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö¼ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö¼ΓöÇΓöÇΓöÇΓö¼ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÉ
ΓöéAdapter Name ΓöéType ΓöéManufacturer ΓöéBusΓöéInputs Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéVideo Capture ΓöéNTSC ΓöéIBM ΓöéMC ΓöéComposite, RGB, Γöé
ΓöéAdapter/A Γöé Γöé Γöé ΓöéS-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéVideo Capture ΓöéPAL ΓöéIBM ΓöéMC ΓöéComposite, RGB, Γöé
ΓöéAdapter/A Γöé Γöé Γöé ΓöéS-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéSuperVIA/PC ΓöéNTSC ΓöéJovian Logic Corp.ΓöéISAΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéSuperVIA/PC ΓöéPAL ΓöéJovian Logic Corp.ΓöéISAΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéSuperVIA/MC ΓöéNTSC ΓöéJovian Logic Corp.ΓöéMC ΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéSuperVIA/MC ΓöéPAL ΓöéJovian Logic Corp.ΓöéMC ΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéQuickVIA ΓöéNTSC ΓöéJovian Logic Corp.ΓöéISAΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéQuickVIA ΓöéPAL ΓöéJovian Logic Corp.ΓöéISAΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéVideo Blaster ΓöéNTSC, ΓöéCreative Labs Inc.ΓöéISAΓöé3-Composite Γöé
Γöé ΓöéPAL Γöé Γöé: Γöé Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéWinMovie ΓöéNTSC ΓöéSigma Design Corp.ΓöéISAΓöéComposite, S-VHS Γöé
Γö£ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓö╝ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöñ
ΓöéWinMovie ΓöéPAL ΓöéSigma Design Corp.ΓöéISAΓöéComposite, S-VHS Γöé
ΓööΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö┤ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö┤ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓö┤ΓöÇΓöÇΓöÇΓö┤ΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÇΓöÿ
ΓòÉΓòÉΓòÉ 1.3. Videodisc Device Setup ΓòÉΓòÉΓòÉ
Ultimotion Workshop/2 Beta provides videodisc support for Pioneer laserdisc
models LD-V4200, LD-V4300D, LD-V4400, and LD-V8000.
The 4300D supports both the American (NTSC) and European (PAL) TV standards for
storing analog video signals. Default communications settings for the players
are: 8 data bits, no parity, 1 stop bit with a baud rate of 4800. The first
communications port is also selected by default. These settings can be changed
using the multimedia setup application if they do not match the current
settings of the actual videodisc device. It is highly recommended that
communication speeds at or above 4800 bps be utilized to ensure reliable and
optimized performance.
Baud rates of 4800 and 9600 are supported for videodisc devices. Verify that
the default settings on your videodisc hardware match the settings on the
Videodisc page of Multimedia Setup.
To set up videodisc devices and other video sources for recording, you need to
make physical connections between the video device output jacks for analog
audio and video signals and the input jacks of the audio and video capture
adapters installed in your system.
The Pioneer LD-V8000 has a computer controllable interface and supports
frame-stepped recording of video files. To set up the 8000 for frame-stepped
recording, a control cable must connect the videodisc device to the
asynchronous communications port of the computer. To verify the installation of
the videodisc device, select the Videodisc Player object in the Multimedia
folder.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 1.4. Videodisc Formats ΓòÉΓòÉΓòÉ
A videodisc has one of two formats: CAV or CLV. Frame-stepped recording can be
performed using either disc type as input. With CLV discs, some videodisc
players do not show an image and therefore do not enable frame-stepped
recording. This is not the case with the Pioneer 8000, which can do
frame-stepped recording using either format.
CAV (constant angular velocity) is the interactive format of videodiscs, which
allows freeze frame and slow motion. The CAV videodisc can be addressed by
chapter or by frame. A CAV videodisc can contain up to 30 minutes of video on
each side of the disc. One disc holds up to 54,000 frames.
With a CAV format videodisc, the angular velocity of the disc is always the
same (1800 RPM), no matter what track is being read, which is similar to the
way a phonograph record is played.
CLV (constant linear velocity) is the format for extended-play videodiscs. The
CLV videodisc can be addressed by chapter or by time. A CLV videodisc can
contain up to 60 minutes of video on each side of the disc.
With a CLV format videodisc, the linear velocity of the disc is constant under
the laser head; thus the disc spins slower when the outside tracks are read.
Note: The number of chapters on CAV and CLV discs varies, depending on the
manufacturer of the disc.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 1.5. Camcorder and Equipment Setup ΓòÉΓòÉΓòÉ
It is a simple matter to hook up a camcorder or other video source to the
computer so that the video signal can be processed by the video capture
adapter. Merely connect the Video Out jack of the camcorder to the input jack
of the video capture adapter, using either an RCA type cable or an S-VHS cable,
depending on your adapter. To determine the cable type your adapter requires,
see Video Capture Adapter Table. Unlike the videodisc device, most camcorders
and VCRs cannot be controlled by MMPM/2 by means of a connection to the
asynchronous communications port.
You might want to consider using a tripod to position the camcorder, rather
than propping it on the computer. In addition to holding the camera steady, a
tripod lets you adjust the angle of the camera more precisely.
You also might want to invest in a directional microphone or a small microphone
worn by your subject, rather than relying on the microphone of the camcorder.
The camcorder microphone is far enough away from the subject for it to pick up
other previously unnoticed noises in the room as well, such as air-conditioning
fan noise, and the like.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 1.6. Before You Install ΓòÉΓòÉΓòÉ
Before you begin installation of Ultimotion Workshop/2 Beta, look at the README
file on the Ultimotion Workshop/2 Beta diskette. This file contains
last-minute information that is required to use this product.
To install Ultimotion Workshop/2 Beta, you must have already installed OS/2*
2.1 and Multimedia Presentation Manager/2 (MMPM/2). If you have just installed
MMPM/2, you must shut down and restart your computer before installing
Ultimotion Workshop/2 Beta.
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ΓòÉΓòÉΓòÉ 1.7. Ultimotion Workshop/2 Beta Installation ΓòÉΓòÉΓòÉ
Complete the following steps to install Ultimotion Workshop/2 Beta:
1. Start your system.
2. Insert the Ultimotion Workshop/2 Beta diskette into the diskette drive.
3. Using the OS/2 command prompt, make the diskette drive the current drive.
For example, if you are using the "A" drive, type A: and press Enter.
4. Type MINSTALL and press enter. The logo window appears.
5. Select OK or press Enter. The Ultimotion Workshop/2 Beta Installation
window appears.
6. Make sure the Source Drive and Path fields contain the appropriate drive
and directory specifications for your installation.
7. In the Target drive field, select the drive on which you installed MMPM/2.
All features will be installed in the MMOS2 directory.
8. Initially, none of the Ultimotion Workshop/2 Beta features are selected for
installation. In the Features field, select the features you want to
install by clicking on their names using mouse button 1. For example, you
will want to select the feature that supports your video capture adapter.
And if you have a videodisc machine and want to play and record from
videodisc, select Videodisc.
If you change your mind about a feature selection, you can deselect it by
clicking on its name again. To see all of the features, use the key or
the mouse to scroll through the list. Notice that the Features to Install
field shows the current number of features selected.
9. Select Install and follow the instructions in the subsequent windows to
complete the installation.
During installation, you can have your CONFIG.SYS file automatically
updated. If you choose not to have the file updated for you, the
installation program creates a file called CONFIGCH.NEW and places it in
the \MMOS2 directory of the target drive. Use this file as a reference for
modifying your existing CONFIG.SYS file. You must update the CONFIG.SYS
file of your computer before you can use Ultimotion Workshop/2 Beta.
10. To activate the Ultimotion Workshop/2 Beta support after installation, you
must shut down your computer and then restart it. Make sure the
installation program has completed, and remove any diskettes from the
diskette drive.
Do the following to shut down your computer:
a. Move the mouse pointer to an empty area on the OS/2 desktop.
b. Press mouse button 2.
c. Click on the Shutdown choice.
Warning: Always use the Shutdown procedure before turning off your computer
or restarting it. You can lose information if you turn off your computer
without using Shutdown.
Restart your computer. The folder on your desktop now includes the Ultimotion
Workshop/2 Beta features you selected.
ΓòÉΓòÉΓòÉ <hidden> MINSTALL Program ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2. Using the Digital Video Recorder ΓòÉΓòÉΓòÉ
The Ultimotion Workshop/2 Beta Recorder converts your desktop into a video
workshop. The following sections describe how you can use the recorder to:
o Record in real time from an analog video source, such as a camcorder,
videodisc, or videotape device.
o Record from a frame-steppable source to produce high-quality motion video.
o Open a monitor window to preview the video source.
o Use PM dials to adjust color, tint, contrast and brightness.
o Specify a size and position on the source for the capture.
o Set frame rate values.
o Set quality values for audio and video.
o Convert a video file to another compression format
o Cut, copy, and paste video files.
o Capture a bit map from a video source.
Note: Converting a video file to another compression format is not supported
in this Beta.
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ΓòÉΓòÉΓòÉ 2.1. Recording Methods ΓòÉΓòÉΓòÉ
The Ultimotion Workshop/2 Beta recorder supports real-time recording and
frame-stepped recording. Real-time recording is the most commonly used
recording method, because it can be done using the signal of a camcorder or a
VCR, with no source preparation requirement. Ultimotion Workshop/2 Beta
supports the simultaneous capture of audio and video, with the interleaving of
the audio and video done in real time. Real-time recording is supported for a
wide range of videodisc and videotape devices as input-from the high-end
frame-steppable, computer-controllable device to the low-end device with no
computer interface.
Frame-stepped recording requires input from a videodisc device that has
frame-stepping capability and a computer-controlled interface. An example of
such a device is the Pioneer** LaserDisc Model LD-V8000, and other input device
types will be added in the future. Because frame-stepped recording is done
frame-by-frame from the source to the target, more time is used to record and
compress the video data, resulting in a high-quality movie file.
ΓòÉΓòÉΓòÉ 2.2. Video File Format ΓòÉΓòÉΓòÉ
The Ultimotion Workshop/2 Beta Recorder supports recording in the AVI file
format. The Audio/Video Interleaved (AVI) file format is the standard file
format used to support software motion video. AVI files can contain multiple
streams (tracks) of data (for example, a video and an audio stream). The
streams can be interleaved to improve access times during playback. The
present implementation is limited to a single video stream and a single,
optional, audio stream.
ΓòÉΓòÉΓòÉ 2.3. Default Recorder View ΓòÉΓòÉΓòÉ
The Ultimotion Workshop/2 Beta Recorder provides a default view and an
input/output view. The default view is intended for a simple recording,
playback, or editing operation; for example recording using the analog signal
from a VCR or camcorder and your video capture adapter.
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ΓòÉΓòÉΓòÉ 2.4. Input/Output Recorder View ΓòÉΓòÉΓòÉ
The input/output view is for more complex recording and editing operations. For
example, you might be recording from videodisc input to a hard disk file
output. The input/output view lets you mark an area on the input slider to
indicate the portion of the videodisc input you want to record, and then record
and play back the output. The input/output view also allows you to use input
and output files in an editing operation. For example, you can copy all or
part of an input file to a location or a marked area in the output file.
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ΓòÉΓòÉΓòÉ 2.5. Device Selections Window ΓòÉΓòÉΓòÉ
The input/out view is displayed after you select an input device from the
Device Selections window. Choose Device selection on the Options menu to make
your device selections.
When the input/output device is displayed, selection of None as the input
device causes the default view to be displayed. Note that Digital Video 2 is
selected as the output device. This is the default output recording device.
Selecting Digital Video Player as the input device enables you to load an AVI
file as input for recording and editing purposes. You can use the File menu
choice to load an AVI file as output and copy the entire input file or only a
portion of it into a location in the output file.
You also can select devices for the recorder by using drag and drop techniques.
For example, you can pick up a movie file and drop it on the recorder in the
input or output area. If you make no device selections, the default view of
the recorder is displayed.
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ΓòÉΓòÉΓòÉ 2.6. Time Formats ΓòÉΓòÉΓòÉ
When you load a file or a videodisc, values for the beginning and end of the
file are shown on the media position slider in the current time format. The box
to the right of the media position slider shows the current position in the
file. When you mark an area of input or output for editing or recording, the
beginning and end marks are shown in the current time format.
A time format helps you measure distance within a file from one position to
another. The Ultimotion Workshop/2 Beta Recorder supports two formats:
HH:MM:SS:FF and frames.
The HH:MM:SS:FF time format measures file length in hours, minutes, seconds,
and a frames-per-second count. The frames time format measures file length
using a consecutive frame count.
The HH:MM:SS:FF time format is useful for determining the number of frames per
second you are actually capturing. If you are not capturing the desired frame
rate per second, you can experiment by adjusting video and audio quality
settings to attempt to boost the frame rate.
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ΓòÉΓòÉΓòÉ 2.7. Changing the Time Format ΓòÉΓòÉΓòÉ
The time format can be changed at any time with no effect on the data. To
select a time format for the movie file you are recording:
1. Select Options.
2. Select Input Time Format or Output Time Format.
3. Select one of the time formats available to you:
o HH:MM:SS:FF
o Frames
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ΓòÉΓòÉΓòÉ 2.8. Real-Time Recording ΓòÉΓòÉΓòÉ
The following sections describe how to set up the Digital Video Recorder for
real-time recording, and how to record AVI format video files in real time,
using a camcorder or a VCR and the Digital Video Recorder. Items of interest on
the Options menu for real-time recording are:
o Device selections
o Record setup
o Monitor video
o Adjust video
These menu items are described in the following sections.
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ΓòÉΓòÉΓòÉ 2.8.1. Device Selections ΓòÉΓòÉΓòÉ
Select Device selections... to display the Device Selections window. Make sure
that the input device is None and the output device is Digital Video 2, which
is the video capture adapter. These selections are the defaults.
ΓòÉΓòÉΓòÉ <hidden> Real-Time Recording ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.8.2. Rate Page of Record Setup ΓòÉΓòÉΓòÉ
Select Record setup on the Options menu to display the Record Setup notebook.
Tab through the notebook to select values for the real-time recording
operation.
The notebook is open to the Rate page. Make the following selections:
o Select Real time as the recording speed.
o Select a value for frame rate output.
o Select a value for reference frame interval.
Because you are recording with a camcorder, the entry field for frame rate
input is not applicable.
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ΓòÉΓòÉΓòÉ 2.8.3. Quality Page of Record Setup ΓòÉΓòÉΓòÉ
1. Select the Quality tab to display the Quality page.
2. Select the Ultimotion Real-Time compression type. This compression type
supports setting only the quality level.
3. Select the Desired Video Quality.
Note: The None choice is not a valid selection.
ΓòÉΓòÉΓòÉ <hidden> Real-Time Recording ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.8.4. Audio Page of Record Setup ΓòÉΓòÉΓòÉ
The audio page of Record Setup enables you to select values that affect the
quality of the soundtrack. It also allows you to determine whether or not the
video will have a soundtrack. If you decide you want a soundtrack, you can make
the following selections:
1. Select the Audio tab to display the Audio page.
2. Select the number of channels.
3. Select a sample rate.
4. Select a sample size.
5. Select an input level.
If you prefer, you can accept the defaults for these items. Selecting a 16-bit
sample size or a higher sampling rate can improve audio quality, but it also
raises the data rate. Selecting higher quality audio settings also can limit
the output from being played on a wide range of hardware.
If you decide you do not want a soundtrack, deselect the checkbox for Record
audio.
ΓòÉΓòÉΓòÉ <hidden> Real-Time Recording ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.8.5. Opening a Monitor Window ΓòÉΓòÉΓòÉ
A monitor window is essential for previewing analog video before you record.
After viewing the image, you can can make any needed adjustments to video
attributes by turning the dials in the Video Adjustments window. The monitor
window immediately reflects any adjustments to video attribute settings.
To set up a monitor window:
1. Select Options.
2. Select Monitor video... to display the monitor window.
3. To change the monitor window size, select its system menu icon.
4. Select the desired size from the system menu.
Related Topics
o Video Adjustments Window
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ΓòÉΓòÉΓòÉ 2.8.6. Video Adjustments Window ΓòÉΓòÉΓòÉ
To make adjustments to the image in the Monitor window:
1. Select Options.
2. Select Adjust video... to display the Video Adjustments window.
3. Look at the image displayed in the Monitor Window.
4. If the image quality is not to your liking, use the dials in the Video
Adjustments window to select values for tint, color, brightness, and
contrast.
Note: Some video capture adapters (such as the Video Blaster) apply video
attribute settings to the image in the Monitor Window, but do not use the
settings to alter the captured video image.
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ΓòÉΓòÉΓòÉ 2.8.7. Recording the Movie ΓòÉΓòÉΓòÉ
1. Press to begin recording. While recording is in progress, the record
button blinks and the number in the box to the right of the slider is
continuously updated in the selected time format.
2. Press to end the recording.
Notes:
o To record in real time, a computer with an 80486 processor and 25MHz is
recommended. A slower system works if you decrease the frame rate and window
size.
o Use only the and buttons for real-time recording.
To save the recording as an AVI movie file:
1. Select File.
2. Select Save as.
3. Select the Movies directory.
4. Type the AVI filename in the Save as filename field. The file should have
an AVI extension so it can be associated with the Digital Video player.
5. Select OK.
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ΓòÉΓòÉΓòÉ 2.9. Frame-Stepped Recording ΓòÉΓòÉΓòÉ
The Digital Video Recorder supports frame-stepped recording from videodisc and
video tape devices that have a computer interface and frame-stepping
capability. An example of such a device is the Pioneer** LaserDisc Model
LD-V8000. Using the Pioneer 8000 as an input device, you can record
frame-by-frame from the videodisc source to the video capture adapter.
Frame-stepped recording produces a high-quality movie file, because complete
frames are captured from the source during the recording process.
The following sections describe setting up the Video Recorder for frame-stepped
recording.
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ΓòÉΓòÉΓòÉ 2.9.1. Input and Output Device Selection ΓòÉΓòÉΓòÉ
Select input and output devices:
1. Select Options.
2. Select Device selections to open the Device Selection window.
3. In the Input Device field, select the video input device; for example,
Pioneer Videodisc.
4. In the Output Device field, select the video recording device that is
associated with your video capture adapter; for example, Digital Video 2.
The Digital Video 2 device provides support for your video capture adapter.
Note: If you selected the videodisc player in a previous session and then
restart the recorder without turning on the videodisc player, you receive an
error message that tells you the device is not available. If you want to use
the videodisc player for input, turn on the videodisc player and reselect it as
the input device.
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ΓòÉΓòÉΓòÉ 2.9.2. Input and Output Time Formats ΓòÉΓòÉΓòÉ
Select input and output time formats:
1. Select Options.
2. Select Input time format.
3. Select Frames or HH:MM:SS:FF from the submenu.
4. Select Output time format
5. Select Frames or HH:MM:SS:FF from the submenu.
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ΓòÉΓòÉΓòÉ 2.9.3. Record Setup ΓòÉΓòÉΓòÉ
The Record setup choice on the Options menu displays the Record Setup notebook.
Use the notebook to set values that determine the quality of the video and
audio in the movie clip you are capturing.
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ΓòÉΓòÉΓòÉ 2.9.4. Rate Page of Record Setup ΓòÉΓòÉΓòÉ
To set values on the rate page:
1. Select Options on the menu bar.
2. Select Record setup.
3. Select Frame-stepped as the recording speed.
4. Accept the default of 30 FPS for frame rate input.
5. Spin the button to the desired output frame rate.
6. Check Insert reference frames.
7. Select a reference frame interval.
Frame Rate Input
The value selected for input frame rate depends on the rate supported by the
videodisc device. There are two standard rates:
Rate Standard
30 fps American TV standard for storing analog video signals, set by the
National Television Standards Committee (NTSC).
25 fps European TV standard, called Phase Alternating Line (PAL).
Some videodisc devices, for example, the Pioneer** Model LD-V4300D, support
both standards.
Reference Frame Interval
A good choice for the the Reference Frame Interval is a value that is twice the
output frame rate. This will ensure that a reference frame is included every
two seconds in the output stream. For example, if you select 15 as the output
frame rate, select a reference frame interval of 30.
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ΓòÉΓòÉΓòÉ 2.9.5. Size Page of Record Setup ΓòÉΓòÉΓòÉ
Select the Size tab to display the Size page. This page allows you to crop the
source image by specifying X and Y coordinates for the origin of the capture
and pixel values for its width and height.
This feature is useful for cropping unwanted areas from the source image. For
example, you might want to crop the source image of a wide screen movie on
videodisc that has broad black bands at the top and bottom of the source image.
You can use the spin button to select a ratio for the Zoom field that produces
the output size desired. For example, a ratio of 2:1 produces the output size
of 320x240 pixels, if the capture size is the default of 640x480 pixels. Use
the spin button to select a ratio for the Zoom field that produces the output
size desired. For example, a ratio of 2:1 produces the output size of 320x240
pixels.
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ΓòÉΓòÉΓòÉ 2.9.6. Quality Page of Record Setup ΓòÉΓòÉΓòÉ
Select the Quality tab to display the Quality page. This page enables you to
select values that affect video quality:
o Compression type
o Video quality
o Maximum data rate
Compression Type
When you are doing frame-stepped recording, select Ultimotion Asymmetric as the
compression type. This compression type supports setting both a video quality
level and a maximum data rate.
Maximum Data Rate
The maximum data rate is the sum of audio and video data rates. You can select
a value for the audio sample rate on the Audio page. The audio sample rate is
subtracted from the value you set for 1681 the maximum data rate to produce
a value for the video rate.
During the recording process attempts are made to provide the selected quality
level without exceeding the maximum data rate. The maximum data rate is the
maximum data rate that the Ultimotion compressor will allow. The actual output
data rate might be below the maximum, particularly if a low quality level is
set.
Note: The None choice is not a valid selection.
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ΓòÉΓòÉΓòÉ 2.9.7. Audio Page of Record Setup ΓòÉΓòÉΓòÉ
Select the Audio tab to display the Audio page. This page enables you to select
values that will affect audio quality:
o Number of channels
o Sample rate
o Sample size
o Input level
Note that on the Audio page you can specify whether or not you want to record
audio for the movie file.
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ΓòÉΓòÉΓòÉ 2.9.8. Opening a Monitor Window ΓòÉΓòÉΓòÉ
Open a monitor window so you can preview videodisc input and identify the
portion of the videodisc you want to record or edit.
To open a monitor window:
1. Select Options.
2. Select Monitor video... to display the monitor window.
3. To change the monitor window size, select its system menu icon.
After the Monitor video... menu item is selected, it has a checkmark. To
initialize the continuous display of the current frame number, press the
Display button on the videodisc machine. Display of the current frame number is
useful for identifying the first and last frames of the videodisc portion you
want to capture, and estimating the size of the movie clip.
Use the and buttons to scan backward and forward through the various video
segments on the videodisc until the segment you want to capture is displayed in
the monitor window. You can estimate locations of segments by observing the
position of the slider as you scan. Use the slider to find the approximate
starting point.
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ΓòÉΓòÉΓòÉ 2.9.9. Video Adjustments ΓòÉΓòÉΓòÉ
Use the image displayed in the monitor window as a guide for adjusting the
settings of video attributes. The monitor window immediately reflects any
adjustments you make. To open the Video Adjustments window:
1. Select Options.
2. Select Adjust video... to display the Video Adjustments window.
3. Look at the image displayed in the Monitor Window.
4. If the image quality is not to your liking, use the dials in the Video
Adjustments window to select values for tint, color, brightness, and
contrast.
Note: Some video capture adapters (such as the Video Blaster) apply video
attribute settings to the image in the Monitor Window, but do not use the
settings to alter the captured video image.
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ΓòÉΓòÉΓòÉ 2.9.10. Capture Start and Stop Positions ΓòÉΓòÉΓòÉ
When you are ready to set the starting frame of the capture:
1. Use the and buttons to step frame-by-frame to the desired starting frame.
2. Press the button to set the starting frame. A tick mark appears above the
slider, with the number of the starting frame above it.
In a similar fashion, set the ending frame of the capture:
1. Use the and buttons to step to the ending frame.
2. Press the button to set the ending frame. A tick mark appears below the
slider, with the number of the ending frame below it.
3. Press to position the videodisc at the starting frame of the clip.
As an alternative to setting beginning and end marks with the mark buttons, you
can use the Enter Marks window.
To unmark the start and stop positions on the input slider:
1. Select Edit on the menu bar.
2. Select Input.
3. From the submenu, select Unmark.
Related Topics
o Marking Methods
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ΓòÉΓòÉΓòÉ 2.9.11. Recording the Movie ΓòÉΓòÉΓòÉ
After you have set up your devices for recording, opened a monitor window, made
your video adjustments, and set start and stop positions, you are are ready to
capture the marked videodisc segment as a new file. (By default, the output
device is already set up to record a new file.)
Press to record. The capture is done in a two-pass operation:
1. While the external device plays, audio is recorded in real time, until the
end mark is reached or the Stop button is pressed.
2. The external device is then repositioned to the starting position and video
is recorded and compressed frame by frame, with each frame being
interleaved with audio after it is compressed. The status line indicates
when recording and compression are taking place.
As an alternative to setting an end mark, you can press the Stop button when
the desired position in the videodisc source is reached. Pressing the Stop
button ends the the first pass (audio recording) and starts the second pass
(video recording). Video capture starts at the beginning mark and continues up
to the position where Stop was pressed.
There is no need to press the Stop button if you set an end mark, or if you
want recording to continue to the end of the source medium.
To save the recording as an AVI movie file:
1. Select File.
2. Select Save as.
3. Select the Movies directory.
4. Type the AVI filename in the Save as filename field. The file should have
an AVI extension so it can be associated with the Digital Video player.
5. Select OK.
Wait until the hard disk stops before closing the recorder. The blinking of the
hard disk light indicates that interleaving of the audio and video is taking
place. If you close the recorder too soon, you can corrupt the AVI file.
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ΓòÉΓòÉΓòÉ 2.9.12. Playing the Movie Clip ΓòÉΓòÉΓòÉ
To play the new movie clip:
1. Open the Movies folder.
2. Double click on the new movie file to open the Digital Video player and
load the movie file.
3. Press the Play button to view the movie.
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ΓòÉΓòÉΓòÉ 2.10. Editing Operations ΓòÉΓòÉΓòÉ
The Digital Video Recorder supports editing of AVI movie files. You can work
with a single movie file, or you can work with two at a time. To load the first
file:
1. Select File.
2. Select Open.
3. Select a movie file to edit from the Open Video window.
4. Select OK.
To load a second file as input to the first:
1. Select Options.
2. Select Device Selection.
3. In the Input Device field, select Digital Video Player.
4. Select a movie file to edit from the Open Input Video window.
The file is loaded as input, and the input/output view of the Recorder is
shown. You can mark a segment of the input file and paste it into the output
file.
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ΓòÉΓòÉΓòÉ 2.10.1. Marking Methods ΓòÉΓòÉΓòÉ
Editing is done by selecting commands from the Edit menu. But before you can
select an editing command, you must mark the area in the file or on videodisc
that you want to edit. There are two methods for marking an area:
o You can use the and buttons to mark an area. See Setting Capture Start and
Stop Positions.
o Or you can enter values in the Enter Marks window.
To open the Enter Marks window:
1. Select Edit.
2. Select Enter marks to display the Enter Marks window.
ΓòÉΓòÉΓòÉ <hidden> Editing Operations ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.10.2. Enter Marks Window ΓòÉΓòÉΓòÉ
Use the Enter Marks Window to specify the area you want to edit:
1. Type a value in the Begin Mark field.
2. Type a value in the End Mark field.
3. Select OK to set the marks.
ΓòÉΓòÉΓòÉ <hidden> Editing Operations ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.10.3. Media Position Slider ΓòÉΓòÉΓòÉ
After values are entered for Begin mark and End mark, tick marks appear in the
appropriate positions on the slider.
For values to be accepted, they must be in the time format that is currently in
use. They must also be within the range of the current file, and the End Mark
value must be greater than the Begin Mark value.
Values on the media position slider are shown in the current time format. For
more information concerning time formats, see Time Formats.
ΓòÉΓòÉΓòÉ <hidden> Editing Operations ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.10.4. Editing Commands ΓòÉΓòÉΓòÉ
Select an editing command to operate on the marked area:
o Select Delete to delete the segment from the file.
o Select Cut to copy the segment to the system clipboard and delete it from the
file.
o Select Copy to copy the segment to the system clipboard.
o Select Paste to insert the clipboard contents into the current file. If a
segment is marked in the current file, the segment is replaced by the
clipboard contents.
ΓòÉΓòÉΓòÉ <hidden> Editing Operations ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.11. Bit Map Capture ΓòÉΓòÉΓòÉ
To capture a bit map from videodisc input:
1. Select Options.
2. Select Monitor Video....
3. Use the controls on the videodisc machine to step to the desired frame.
4. Select Monitor Video... again to close the monitor window.
5. Select Options.
6. Select Bitmap Capture.
7. Select Filename selection.
8. Select your bit map directory.
9. Select OK.
10. Select Options.
11. Select Bitmap Capture.
12. Select Capture now.
When the Auto-increment choice is checked, the bit map file extension is
incremented with each consectutive capture.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 2.12. Preparation for Recording Live Video ΓòÉΓòÉΓòÉ
Following are some guidelines for equipment you might want to use and planning
you might want to do before you record a live movie using a camcorder and the
Digital Video Recorder. Topics include:
o Setting up the camcorder
o Adjusting the lighting
o Planning the video production
ΓòÉΓòÉΓòÉ 2.12.1. Lighting ΓòÉΓòÉΓòÉ
Bright overhead light in a room can cast unwanted shadows. Fluorescent lighting
can make everything look pale and washed out. Too much light or too little
light on the subject can be equally problematic.
Use of portable, low-wattage lights with reflectors can compensate for lighting
problems. Place the lights outside the range of the camera and position them
so that they are angled neither too high or too low on the subject. In
addition, make sure the lights do not shine directly into the subject's eyes.
Not only can this cause the subject some discomfort, it also can cause light to
be reflected from the eyes.
You can "white balance" your camera for the lights you are using by aiming the
camera at a white piece of paper that is positioned where your subject will be,
and pressing the white balance button.
ΓòÉΓòÉΓòÉ 2.12.2. Planning the Video Production ΓòÉΓòÉΓòÉ
A little bit of planning can often make the difference between a home video and
a quality video production. A useful planning tool for video production is the
storyboard concept, which uses a series of frames to describe the major audio
and video elements that comprise a video production.
The storyboard can be used at various levels during the video production. For
example, a storyboard can provide a high-level overview of the entire video
production. A storyboard also can provide a detailed description of a scene,
where each frame of the storyboard represents a change that takes place during
the scene-such as the entrance of a new character or a change in the camera
angle.
Another video production tool is the script. A script defines the message you
want your video to communicate. Avoid lengthy dialog and be sure your script
includes enough stage direction to help your subjects convey the message you
want.
ΓòÉΓòÉΓòÉ 3. Using the AVI File Utility ΓòÉΓòÉΓòÉ
The AVI File Utility is a PM application that allows you to:
o View information within the AVI file such as header information, chunk,
index, RIFF format, and general statistics associated with the file.
o Merge an audio file with an AVI file
o Split the AVI file into an audio file and an AVI file (without sound)
o Change the interleave ratio of audio and video frames
o Change the skew between the audio and video
o Add or remove 'Junk' chunks, 'rec' chunks, and an index from the AVI file
The main window of the AVI File Utility consists of a static entry field for
status messages, a Multi-Line Entry (MLE) for viewing AVI file information, and
Merge, Split, Interleave, Skew, and Cancel push buttons. The main window also
includes four menu choices: File, Edit, View and Help. These choices and
their subchoices are described in Menu Choices.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.1. AVI File Editing Functions ΓòÉΓòÉΓòÉ
This section describes the AVI File Utility editing functions, which enable you
to edit the AVI file wrapper surrounding the audio and video data. Select a
choice from the Edit menu or select a graphic push button.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.1.1. Splitting Audio and Video ΓòÉΓòÉΓòÉ
To split an AVI file into an audio file and an AVI file that has no sound:
1. Open an AVI file associated with audio.
a. Select File.
b. Select Open...
c. Select or type in the name of the AVI file you want to open.
d. Select OK.
2. Select the Split push button.
3. Save the audio file.
a. Select File.
b. Select Save Audio File....
c. Type the name of the audio file you want to save.
d. Select OK.
4. Save the AVI file (without audio).
a. Select File.
b. Select Save As....
c. Type the name of the file you want to save.
d. Select OK.
ΓòÉΓòÉΓòÉ 3.1.2. Merging Audio and Video ΓòÉΓòÉΓòÉ
To merge an audio file with an AVI file:
1. Open an AVI file that does not contain audio.
a. Select File.
b. Select Open...
c. Select or type in the name of the AVI file you want to open.
d. Select OK.
2. Open an audio file.
a. Select File.
b. Select Open Audio File...
c. Select or type in the name of the audio file you want to open.
d. Select OK.
3. Select the Merge push button.
4. Save the merged file.
a. Select File.
b. Select Save As....
c. Type the name of the file you want to save.
d. Select OK.
ΓòÉΓòÉΓòÉ <hidden> AVI File Editing Functions ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ <hidden> AVI File Editing Functions ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.1.3. Changing the Interleave Ratio ΓòÉΓòÉΓòÉ
To change the interleave ratio of audio and video frames:
1. Open an AVI file (associated with audio).
a. Select File.
b. Select Open...
c. Select or type in the name of the AVI file you want to open.
d. Select OK.
2. Select the Interleave push button.
3. Select an interleave value from the Change Interleave Ration window.
4. Select OK.
5. Save the changed file.
a. Select File.
b. Select Save As....
c. Type the name of the file you want to save.
d. Select OK.
ΓòÉΓòÉΓòÉ <hidden> AVI File Editing Functions ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.1.4. Changing the Skew between Video and Audio ΓòÉΓòÉΓòÉ
To change the skew between the audio and video:
1. Open an AVI file associated with audio.
a. Select File.
b. Select Open...
c. Select or type in the name of the AVI file you want to open.
d. Select OK.
2. Select the Skew push button.
3. Select a skew value from the Change Audio Chunk Skew window.
4. Select OK.
5. Save the changed file.
a. Select File.
b. Select Save As....
c. Type the name of the file you want to save.
d. Select OK.
ΓòÉΓòÉΓòÉ <hidden> AVI File Editing Functions ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.2. Menu Choices ΓòÉΓòÉΓòÉ
This section describes the menu choices available from the AVI File Utility.
The Help Menu is not implemented for the Ultimotion Workshop/2 Beta.
ΓòÉΓòÉΓòÉ <hidden> AVI File Utility ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.2.1. File Menu ΓòÉΓòÉΓòÉ
The File menu contains options which control the input and output of AVI and
audio files.
You can select from the following menu choices.
Open...
Opens the AVI file specified in the file selection window. When you select
a file, the program generates a new set of display information for the file
and updates the main window.
Save
Saves the file with its current file name.
Save As...
Saves the current file with a name you type. The file can be a new file,
or an existing file whose name, path, or driver letter you want to change.
This allows you to create a new AVI file name, instead of overwriting the
existing file.
Open Audio File...
Opens the audio file specified in the file selection window. You can load
an audio file to merge with an AVI file.
Save Audio File...
Saves an audio file that was split from an AVI file.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.2.2. Edit Menu ΓòÉΓòÉΓòÉ
The Edit menu contains actions associated with modifying the AVI file in
memory. These actions modify the current AVI file and update the main window
with the characteristics of the new AVI file.
You can select from the following menu choices.
Merge Audio with Video
Merges an AVI file and an audio file that were previously loaded.
Split Audio from Video
Removes the audio track and stores it as a separate file in memory, if the
current AVI file in memory has an audio track. You can then save this file
as a separate audio file.
Change Interleave Ratio
Allows you to select a interleave ratio to use for the current AVI file.
This interleave ratio is the ratio of video to audio frames.
Change Audio Chunk Skew
Allows you to select a new skew value for the current AVI file. The skew
value is the number of frames that the audio stream leads the video stream
in the AVI file. Having the audio stream lead the video stream allows the
audio buffers to stay full as the movie is played.
Options
Allows you to apply one or more of the following options:
'Junk' Chunks
Adds padding (filler) to the records within the AVI file so that all the
records are multiples of 2KB. Use this padding (known as a 'Junk'
chunk) for easier reading of the AVI file.
'rec' Chunks
Adds 'rec' chunks to the AVI file. This type of chunk surrounds the
audio and video chunks of the current frame.
Index
Adds an index to the end of the AVI file. This index contains the
offset and length of each individual chunk within the AVI file.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 3.2.3. View Menu ΓòÉΓòÉΓòÉ
The View menu contains options that control the display of AVI file information
as it is displayed in the main window.
You can select from the following menu choices.
Chunk ID and Length
Displays information associated with each individual chunk in the file.
This information consists of the ID, the length, and the offset of the
chunk.
Headers
Displays information in the various headers of the AVI file. For example,
the main AVI header and the AVI stream header.
Index
Displays information contained in an index chunk of an AVI file. The index
chunk is an optional part at the end of an AVI file. It specifies the
location of the data chunks within the file and is required to support seek
and edit operations.
Status Information
Displays AVI file statistics such as frame rate and the average size of the
frame.
Packed
Determines if all the information displayed is shown in a packed or
unpacked form. The packed form squeezes the data as much as possible by
removing a large part of the textual information.
RIFF Format
Displays only the RIFF format of the current AVI file. All previous
selections are ignored.
Decimal
Makes numbers appear as decimals when displayed in the main window.
hexadecimal
Makes numbers appear as hexadecimals when displayed in the main window.
ΓòÉΓòÉΓòÉ <hidden> Ultimotion Workshop/2 Beta ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ 4. Glossary ΓòÉΓòÉΓòÉ
ΓòÉΓòÉΓòÉ <hidden> Glossary ΓòÉΓòÉΓòÉ
Select the starting letter of the glossary term you want to locate.
ΓòÉΓòÉΓòÉ <hidden> A ΓòÉΓòÉΓòÉ
asymmetric video compression In multimedia applications, the use of a powerful
computer to compress a video for mastering so that a less powerful (less
expensive) system is needed to decompress it. Contrast with symmetric video
compression.
audio Pertaining to the portion of recorded information that can be heard.
audio attributes Refers to the standard audio attributes: mute, volume,
balance, treble and bass.
audio segment A contiguous set of recorded data from an audio track. An audio
segment might or might not be associated with a video segment.
audio track (1) The audio (sound) portion of the program. (2) The physical
location where the audio is placed beside the image. (A system with two
audio tracks can have either stereo sound or two independent audio tracks.)
AVI file format The Audio/Video Interleaved (AVI) file format is the standard
file format used to support software motion video. AVI files can contain
multiple streams (tracks) of data (for example, a video and an audio stream).
The streams may be interleaved to improve access times during playback. The
present implementation is limited to a single video stream and a single,
optional, audio stream.
ΓòÉΓòÉΓòÉ <hidden> B ΓòÉΓòÉΓòÉ
balance For audio, refers to the relative strength of the left and right
channels. A balance level of 0 is left channel only. A balance level of 100
is right channel only.
brightness Refers to the level of luminosity of the video signal. A brightness
level of 0 produces a maximally white signal. A brightness level of 100
produces a maximally black signal.
ΓòÉΓòÉΓòÉ <hidden> C ΓòÉΓòÉΓòÉ
camcorder A compact, hand-held video camera with integrated videotape recorder.
capture To take a snapshot of motion video and retain it in memory. The video
image may then be saved to a file or restored to the display.
CAV See Constant Angular Velocity.
chrominance (1) The signal which represents the color components of the video,
such as hue and saturation. (2) See also luminance.
chunk (1) The basic building block of a RIFF file. (2) A RIFF term for a
formalized data area. There are different types of chunks, depending on the
chunk ID. (3) See junk chunk or RIFF chunk.
clip A section of recorded, filmed, or videotaped material.
clipping The bounding of an area to limit the visible portion of video or
graphics.
CLV See Constant Linear Velocity.
CODEC compressor/decompressor (CODEC) - An algorithm implemented either in
hardware or software that can either compress or decompress a data object.
For example, a CODEC can compress raw digital images into a smaller form so
that they use less storage space. When used in the context of playing motion
video, decompressors reconstruct the original image from the compressed data.
This is done at a high rate of speed to simulate motion.
color See saturation.
connection (1) The establishment of the flow of information from a connector on
one device to a compatible connector on another device. A connection can be
made that is dependent on a physical connection, for example the attachment
of a speaker to an audio adapter with a speaker wire. A connection can also
be be made that is completely internal to the PC, such as the connection
between the waveaudio media device and the ampmix device. (2) See also
connector.
connector (1) A software representation of the physical way in which multimedia
data moves from one device to another. A connector can have an external
representation, such as a headphone jack on a CD-ROM player. A connector can
also have an internal representation, such as the flow of digital information
into an audio adapter. (2) See also connection.
contrast The difference in brightness or color between a display image and the
area in which it is displayed. A contrast level of 0 is minimum difference. A
contrast level of 100 is maximum difference.
Constant Angular Velocity (CAV) (1) Refers to both the format of data stored
on a videodisc and the videodisc player rotational characteristics. CAV
videodiscs contain 1 frame per track. This allows approximately 30 minutes
of playing time per videodisc side. CAV videodisc players spin at a constant
rotational speed (1800 rpm for NTSC or 1500 rpm for PAL) and play 1 frame per
disc revolution. CAV players support frame accurate searches. (2) See also
Constant Linear Velocity (CLV).
Constant Linear Velocity (CLV) (1) Refers to both the format of data stored on
a videodisc and the videodisc player rotational characteristics. CLV
videodiscs contain 1 frame on the innermost track and gradually increase to 3
frames on the outermost track. This allows approximately 1 hour of playing
time per videodisc side. CLV videodisc players vary the rotational speed
from approximately 1800 at the inner tracks to 600 rpm at the outer tracks
(for NTSC).
Currently, few CLV players support frame accurate searches. They only
support search or play to with in one second (30 frames for NTSC or 25 frames
for PAL).
(2) See also Constant Angular Velocity (CAV).
contrast The difference in brightness or color between a display image and the
area in which it is displayed. A contrast level of 0 is minimum difference. A
contrast level of 100 is maximum difference.
cut The procedure of instantly replacing a picture from one source with a
picture from another. (This is the most common form of editing scene to
scene.)
ΓòÉΓòÉΓòÉ <hidden> D ΓòÉΓòÉΓòÉ
digital audio (1) An audio signal that has been converted to digital data and
can be stored on a hard disk. (2) See also analog audio.
digital video (1) A video signal that has been converted to digital data and
can be stored on a hard disk. (2) See also analog video.
digital video device A device that can record and/or play data files containing
digitally stored video.
digitize To convert an analog signal into digital format. (During conversion,
an analog signal must be sampled at discrete points and quantized to discrete
numbers.) Digital data may be stored in data files.
ΓòÉΓòÉΓòÉ <hidden> E ΓòÉΓòÉΓòÉ
fps Frames per second.
frame-accurate searching The capability of a videodisc player to search for and
play specific frames on the videodisc by means of software or remote control.
This capability is available on all CAV players but only a few CLV players.
Searching by most CLV players is accurate only to within one second of a
frame.
frame number The number used to identify a frame. On videodisc, frames are
numbered sequentially from 1 to 54,000 on each side and can be accessed
individually; on videotape, the numbers are assigned by way of the SMPTE time
code.
frame rate The speed at which the frames are scanned-30 frames a second in NTSC
video, 25 frames a second in PAL video, and 24 frames a second in most film.
frames A complete television picture frame is composed of two scanned fields,
one of the even lines and one of the odd lines. In the NTSC system, a frame
has 525 horizontal lines and is scanned in 1/30th of a second. In the PAL
system, a frame has 625 horizontal lines and is scanned in 1/25th of a
second.
freeze (1) Disables updates to all or part of the video buffer. The last video
displayed remains visible. (2) See also unfreeze.
full-motion video Video playback at 30 frames per second for NTSC signals or 25
frames per second for PAL signals.
ΓòÉΓòÉΓòÉ <hidden> H ΓòÉΓòÉΓòÉ
HMS (1) Hours-minutes-seconds. (2) A time format for videodisc players.
HMSF (1) Hours-minutes-seconds-frames. (2) A time format for videodisc players.
hue (1) Describes the position of a color in a range from blue to green. A hue
level of 0 is maximum blue. A hue level of 100 is maximum green. (2) Also
referred to as tint.
ΓòÉΓòÉΓòÉ <hidden> I ΓòÉΓòÉΓòÉ
interlacing A characteristic of video image display that results in greater
image clarity. In effect, the video image is traced across the screen twice.
(The time delay between the two tracings makes this effect undesirable for
normal computer-generated graphics.) Synonymous with interleaving.
interleave To arrange parts of one sequence of things or events so that they
alternate with parts of one or more other sequences of the same nature and so
that each sequence retains its identity.
interleaving (1) The simultaneous accessing of two or more bytes or streams of
data from distinct storage units. (2) Synonym for interlacing.
ΓòÉΓòÉΓòÉ <hidden> J ΓòÉΓòÉΓòÉ
junk chunk Represents padding, filler or outdated information. It contains no
relevant data; it is a space filler of arbitrary size.
ΓòÉΓòÉΓòÉ <hidden> L ΓòÉΓòÉΓòÉ
line audio The standard type of audio signal distributed between most
components of an audio system.
luminance (1) The signals which represent the brightness components of the
video. (2) See also chrominance.
ΓòÉΓòÉΓòÉ <hidden> M ΓòÉΓòÉΓòÉ
mix The combining and blending of audio or video signals.
mixer A device that selects, combines, or blends audio or video signals.
multimedia The combining of various media types (such as text, graphics, audio,
motion video, or still video) in one application.
mux (1) An abbreviation for multiplexer. (2) See also mixer.
ΓòÉΓòÉΓòÉ <hidden> N ΓòÉΓòÉΓòÉ
National Television Standard Committee (NTSC) A committee that defines the
video standard in the United States.
NTSC (1) The video standard in the United States, Canada, Mexico, and Japan.
(2) 525 lines of resolution at 30 frames per second. (3) See also National
Television Standard Committee.
ΓòÉΓòÉΓòÉ <hidden> P ΓòÉΓòÉΓòÉ
PAL See Phase Alternation Line.
Phase Alternation Line (PAL) (1) The video standard in most of Europe,
Australia, and New Zealand. (2) 625 lines of resolution at 25 frames per
second.
ΓòÉΓòÉΓòÉ <hidden> R ΓòÉΓòÉΓòÉ
RGB (1) A signal combination of the three primary colors - red, green, and blue
- from which many additional colors can be created. Mixing equal parts of
the three colors results in white light. Other colors result from mixing
different combinations of red, green, and blue. (2) A specific color display
accepting the three color signals (red, green, and blue) separately.
real time (1) Pertaining to the processing of data by a computer in connection
with another process outside the computer according to time requirements
imposed by the outside process. This term is also used to describe systems
operating in conversational mode and processes that can be influenced by
human intervention while they are in progress. (2) A process control system
or a computer-assisted instruction program, in which response to input is
fast enough to affect subsequent output.
rec chunk A chunk that surrounds the audio and video chunks of the current
frame.
record To transfer data from one source (for example, microphone, CD,
videodisc) or set of sources to another medium.
reference frame interval Frequency with which reference (or "I") frames are to
be compressed in the output data stream. A value of 0 results in no I
frames, a value of 1 causes every frame to be an I frame, 2 causes every
other frame to be an I frame, 3 every third, and so on.
restore For video still images, a command to display a previously captured
image.
RIFF chunk A chunk with a chunk ID of RIFF. In a RIFF file, this must be the
first chunk.
RIFF compound file A file containing multiple file elements or one file element
that makes up the entire RIFF file. The MMIO manager provides services to
find, query, and access any file elements in a RIFF compound file.
ΓòÉΓòÉΓòÉ <hidden> S ΓòÉΓòÉΓòÉ
saturation (1) Refers to the depth of color intensity. A saturation level of 0
is no color (greyscale). A saturation level of 100 is maximum color
intensity. (2) Also referred to as color.
scene A portion of video captured by the camera in one continuous shot. The
scene is shot repeatedly (each attempt is called a take) until an acceptable
version, called the buy, is taken.
sharpness Refers to the clarity and detail of a video image. A sharpness value
of 0 causes the video to be generally fuzzy with little detail. A sharpness
value of 100 causes the video to be generally very detailed, and may appear
grainy.
skew The angular or longitudinal deviation of a tape row from a specified
reference.
storyboard In multimedia applications, a visual representation of the script,
showing a picture of each scene and describing its corresponding audio.
storyboarding In multimedia applications, producing a sequence of still images,
such as titles, graphics, and images, to work out the visual details of a
script.
S-video (1) Separated video or super video. (2) A signal system using a Y/C
format.
S-Video input connector A special connector that separates the chrominance from
the luminance signal.
symmetric video compression A technology in which the computer can be used to
create, as well as play back, full-motion, full-color video.
ΓòÉΓòÉΓòÉ <hidden> T ΓòÉΓòÉΓòÉ
tint See hue.
track A path associated with a single Read/Write head as the data medium moves
past it.
ΓòÉΓòÉΓòÉ <hidden> U ΓòÉΓòÉΓòÉ
unfreeze (1) To return to action after a freeze. (2) Enables updates to the
video buffer. (3) Also referred to as a thaw.
ΓòÉΓòÉΓòÉ <hidden> V ΓòÉΓòÉΓòÉ
VCR Video Cassette Recorder
video attributes Refers to the standard video attributes: brightness, contrast,
freeze, hue, saturation, and sharpness.
video clipping See clipping.
videodisc A read-only storage medium that contains audio and video data. This
data can be stored in either CAV or CLV format.
video capture adapter An adapter that, when attached to a computer, allows an
ordinary television picture to be displayed on all or part of the screen,
mixing high-resolution computer graphics with video; also enables a video
camera to become an input device.
video quality The compression quality level setting to be set to the CODEC.
This value is in the range 0 (min) - 100 (max).
video record rate Frame rate for recording an as integral number of frames per
second. This sets the target capture rate, but there are no assurances this
rate will be attained. Drop frame records will be inserted into the output
data stream to indicate frames dropped during the capture/record process.
video record frame duration Frame rate for recording as the time duration of
each frame in microseconds. Useful for setting non-integer frame rates, for
example, 12.5 FPS of a PAL videodisc: 1000000/12.5=80000 microsecs.
video signal An electrical signal containing video information. The signal
must be in some standard format, such as NTSC or PAL.
videotape (1) The tape used to record visual images and sound. (2) To make a
videotape of. (3) A recording of visual images and sound made on magnetic
tape. (All shooting is done in this format, even if the results are later
transferred to videodisc or film.)
volume The intensity of sound. A volume of 0 is minimum volume. A volume of
100 is maximum volume.
ΓòÉΓòÉΓòÉ <hidden> X Y Z ΓòÉΓòÉΓòÉ
Y Refers to the luminance portion of a Y/C video signal.
Y/C Refers to video which has separate luminance (Y) and chrominance (C)
signals
zooming The progressive scaling of an image in order to give the visual
impression of movement of all or part of a display group toward or away from
an observer.
ΓòÉΓòÉΓòÉ 5. Notices ΓòÉΓòÉΓòÉ
References in this publication to IBM products, programs, or services do not
imply that IBM intends to make these available in all countries in which IBM
operates. Any reference to an IBM product, program, or service is not intended
to state or imply that only IBM's product, program, or service may be used.
Any functionally equivalent product, program, or service that does not infringe
any of IBM's intellectual property rights or other legally protectible rights
may be used instead of the IBM product, program, or service. Evaluation and
verification of operation in conjunction with other products, programs, or
services, except those expressly designated by IBM, are the user's
responsibility.
IBM may have patents or pending patent applications covering subject matter in
this document. The furnishing of this document does not give you any license
to these patents. You can send license inquiries, in writing, to the IBM
Director of Commercial Relations, IBM Corporation, Purchase, NY 10577.
Trademarks and Service Marks
The following terms, denoted by an asterisk (*) in this publication, are
trademarks or service marks of the IBM Corporation in the United States or
other countries:
CUA Common User Access
OS/2 Operating System/2
IBM
Ultimotion
Multimedia Presentation Manager/2
The following terms, denoted by a double asterisk (**) in this publication, are
trademarks of other companies as follows:
Pioneer Pioneer Electronic Corporation