table of contentswatchout can be used with most display technologies, including crt, dlp and lcd...

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.......................................... 49nment................................. 50ions.................................... 52.......................................... 55.......................................... 55

...................................... 59

.......................................... 59

.......................................... 67

.......................................... 67

.......................................... 81

...................................... 85

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.......................................... 87

.......................................... 90

.......................................... 96

.......................................... 99

.......................................... 99

.......................................... 99

.................................... 103

isplay Computers ............. 103tation ............................... 105........................................ 107

Table of Contents

1 Introduction .............................................. 7Welcome ......................................................... 7System Overview .............................................. 8Software Overview ......................................... 10Related Technologies ...................................... 12

2 System Requirements ............................ 15Production Computer ...................................... 15Display Computer ........................................... 16Network......................................................... 16Displays......................................................... 16

3 Installation ............................................. 21Production Software........................................ 21Display Software ............................................ 22Network Hook-up ........................................... 24License Keys ................................................... 27Displays......................................................... 28Projection Screens........................................... 30Sound............................................................ 30

4 Configuration ......................................... 31Production Computer ...................................... 31Display Computer ........................................... 33Displays......................................................... 42Sound............................................................ 46Maintenance .................................................. 47

5 Planning ...........Application Areas.Presentation EnviroDisplay ConsideratStoryboarding ......Media Production .

6 Media Files .......Still Images...........Text .....................Moving Images.....Audio ..................

7 Production ........Stage...................Media..................Timeline ...............Tween Tracks........Opacity ...............Volume ................Position ................

8 Presentation .....Connecting to the DRunning the PresenExternal Control....

9

1

1

1

A

Windows ...............................................109Stage Window ............................................. 111Timeline Window ......................................... 112Media Window............................................ 114Message Window ........................................ 117

0 Menus....................................................119File Menu..................................................... 119Edit Menu .................................................... 122Stage Menu ................................................. 125Media Menu ................................................ 127Timeline Menu.............................................. 130

1 Displays.................................................133Display Specifications ................................... 134

2 Cues .......................................................137Cue Specifications ........................................ 140Tween Tracks ............................................... 141Tween Points ................................................ 142

. Serial Protocol ......................................143List of Commands ......................................... 145

Index .....................................................149

.com/

0

s: [email protected]

as produced on Apple Macin-etrowerks CodeWarrior. This n Apple Macintosh computers dobe Illustrator, PhotoShop and

Document number: 3955

Dataton WATCHOUT™ software and this manual © copyright 2000, DATATON UTVECKLINGS AB (“Dataton”). All rights reserved.

Dataton TRAX, TOUCHLINK, Dataton PAX and the Dataton logo are registered trademarks of DATATON UTVECKLINGS AB. WATCHOUT, TOUCHDOWN, SMARTPAX, SMARTPAX QC, AIRLINK, SMARTLINK are trademarks of DATATON UTVECKLINGS AB. All other company and product names are trademarks or regis-tered trademarks of their respective owners. Use of a term in this publication should not be regarded as affecting the validity of any trademark.

Products or manufacturers mentioned do not constitute a recommendation or endorsement by Dataton.

The information in this manual has been carefully checked and is believed to be accurate. However, Dataton assumes no responsibility for any inaccuracies that may be contained in this manual. In no event will Dataton be liable for direct, indirect, special, incidental, or consequential damages resulting from any defect or omission in this manual, even if advised of the possibility of such damages. The technical information contained herein regarding features and specifications is subject to change without notice.

Dataton ABBox 1257S-581 12 LINKÖPINGSweden

http://www.dataton

Phone: +46-13-10 24 5Fax: +46-13-13 84 45E-mail: [email protected]

WATCHOUT suggestion

Technical Support:[email protected]

WATCHOUT software wtosh computers using Mmanual was produced ousing Microsoft Word, AFrameMaker.

Printed in Sweden.

http://www.dataton.com/

Chapter 1: Introduction

7

ION

lti-screen display technology. It ge with digital imagery, video puter technology. Use it with it up to monitors, video wall een arrangements.

ns:

configure your WATCHOUT

ng, producing and showing

he reference section of this mands and other functions.

ion of this manual, the table of n be clicked to jump directly to

. The latest version of the soft-tained at this web address:

t/

1 1 INTRODUCTWelcome Welcome to WATCHOUT™, a fully digital, mu

combines the qualities of traditional multi-imaand the graphics power of contemporary comprojectors for large, seamless images, or hookcubes or plasma screens for other creative scr

About This Manual This manual is divided into the following sectio

Chapters 2 through 4. How to install andsystem.

Chapters 5 through 8. A guide to planniyour presentation.

Chapters 9 through 12. This constitutes tmanual, providing details on all windows, com

◆ HINT: If you’re reading the electronic verscontents, index and all cross references cathe referenced page.

WATCHOUT Version 1.1 This manual refers to WATCHOUT version 1.1ware and its documentation can always be ob

http://www.dataton.se/products/watchou

http://www.dataton.se/products/watchout/

8

S

rts that make up a

P

ction work. This is where you your presentation. Using the you simply drag media into ow and along the Timeline.

Display5

Projectors

Displaycomputers

Prc


ystem Overview This section provides a brief introduction to the paWATCHOUT system, and how they fit together.

roduction Computer This is the focal point for your WATCHOUT producollect all the source material, or media, to create WATCHOUT production software (see page 11),your presentation, positioning it in the Stage wind

Display1 Display

3Screen

4

Display2

Go Faster!

• Safety

• Speed

• Tires

Main displayarea with

overlappingimages

100MBit Ethernet

oductionomputer


9

omputers through the network, well as controlling the playback

lay device (projector, monitor, rs handle all the hard work o. They apply edge blends and

play device makes the system are added, you also add more

the production computer to the WATCHOUT software has vital functions will be managed

r revise existing media, these e network, to the appropriate your display configurations, ur presentation to the display e display computers, very little during playback, avoiding

The production computer talks to the display ctransferring media files for you as required, asof the show.

Display Computers You need one display computer for each dispetc) used in you presentation. Display computeassociated with rendering still images and videplaying sound files.

The fact that there’s one computer for each disscalable to virtually any size; as more screenscomputing power to drive these screens.

Network A fast network ties the parts together, allowingmanage all display computers remotely. Oncebeen installed on the display computers, most over the network.

As you add new media to your presentation, ochanges are automatically propagated, via thdisplay computers. The network also transfers timeline programming and other aspects of yocomputer. With all this material residing on thinformation needs to be sent over the networknetwork congestion.

1

S

UT production software.

S

lays (screen areas) to reflect ew of the end result, and ement of images.

T

the Timeline window, where ail icon of the media. You osition and length of these represent the order of over-

M

edia files also appear in the or all media used in your edia file, and allows the file s.

C

by applying tween tracks. stage, such as position or

S

anges can be transferred to is will automatically transfer levant display computers, nd cues are cached locally n at any time by simply

0 Chapter 1: Introduction

oftware Overview This section gives an introduction to the WATCHO

tage Window The Stage window allows you to organize the disptheir expected placement. It also provides a previallows you to manipulate the placement and mov

imeline Media files are dragged from your hard disk into they appear as cues. Each cue features a thumbndetermine timing and duration by adjusting the pcues. The horizontal layers in the Timeline windowlapping images, back-to-front.

edia As media is added, thumbnails representing the mMedia window. This acts as a central repository fpresentation. It provides information about each mto be easily accessed for editing or other purpose

ues and Tween Tracks The cues in the Timeline window can be enhancedThese control the dynamic behavior of media on transparency.

ystem Management As you make changes to the presentation, those chall the display computers by a single keystroke. Thany media you have added, or modified to the reand show the result on stage. As the media files aon each display computer, the show is ready to rupressing the space-bar.


11

1

R

andard technologies. This rmation on these technolo-

t need to know this in order

Q

ware extension to handle

s and other improvements are becomes available, e. Third party companies

ou to take advantage of ts.

Ja

Java programming ny computer platform that e Environment version1.3)

s, WATCHOUT incorporates M and required libraries). ter prior to installing


elated Technologies WATCHOUT is based on a number of industry stsection provides some additional background infogies for the technically interested user. You do noto use WATCHOUT.

uickTime WATCHOUT uses Apple’s QuickTime system softmany of its media-related functions, such as:

• Importing still images of virtually any format.

• Playing moving image files.

• Playing sound files.

WATCHOUT automatically benefits as new codecare added to QuickTime. As new computer hardwQuickTime is enhanced to improve its performancoften provide plug-ins for QuickTime that allow yspecialized hardware or access custom file forma

va WATCHOUT production software is written in thelanguage. This means WATCHOUT can run on asupports Java (compatible with Sun’s Java Runtimand Apple’s QuickTime.

◆ NOTE: For installation on Windows computerand uses its own Java runtime environment (VYou do not need to have Java on your compuWATCHOUT.


13

ftware is written as a native e, the rendering engine takes rdware acceleration to achieve uality.

ce, hard disk space, etc, are chnologies move forward, ting in even better performance

dard – the core protocol of the isplay computers, the contents

.

Ethernet wiring and hubs, tenance.

Fast Computer Hardware For best performance, WATCHOUT display soapplication for the target platform. Furthermoradvantage of system software support and habest possible image and sound reproduction q

Computer speed, display hardware performandeveloping at a phenomenal pace. As these teWATCHOUT will move along with them, resulover time.

TCP/IP Network WATCHOUT uses the TCP/IP networking stanInternet. This distributes the media files to the dof the timeline and control/timing information

The data is typically sent over regular 100 MBthereby reducing cost of installation and main

1


2: System Requirements

15

NTS

stall WATCHOUT.

tem requirements:

tware is based on Java (JRE 1.3) der MacOS X, when available.

Chapter

2 2 SYSTEM REQUIREMEThis chapter lists what you need in order to in

Production Computer The production computer has the following sys

• Microsoft Windows 98 or 2000.

• 500 MHz or better.

• At least 64 MB of RAM.

• At least 100 MB of free hard disk space.

• Ethernet (100 MBit recommended).

• A free USB port.

• 15 inch color monitor.

• Mouse and keyboard.

◆ NOTE: As the WATCHOUT production sofand QuickTime, we also expect it to run un

1

D

quirements:

t 16 MB of video memory, lled in the G4.

y software is planned.

N

nnected using a TCP/IP

orts on all computers and an connect the computers. It is is will slow down media file have impact on the runtime

D

ologies, including CRT, DLP wall cubes and plasma e that’s compatible with the

djacent or overlapping ge reproduction. As the light may degrade over time, try e same number of hours.

6 Chapter 2: System Requirements

isplay Computer The display computer has the following system re

• Apple Macintosh G4, running Mac OS 9.0.4.

• ATI RAGE or NEXUS display card with at leassuch as the standard card that comes pre-insta

• 128 MB of RAM.

• At least 100 MB of free hard disk space.

◆ NOTE: A PC-compatible version of the displa

etwork The production and display computers must be cocompatible network.

A typical system has 100 MBit Ethernet network pEthernet hub with the required number of ports toalso possible to use 10 MBit Ethernet, although thtransfers. The network speed does not, however, timing precision of the system.

isplays WATCHOUT can be used with most display technand LCD projectors, LCD and CRT monitors, videoscreens. Generally, you can use any display devicdisplay card in the display computer.

Avoid mixing brands and models of displays on aareas, since they most likely will differ in their imaintensity and color temperature of many projectorsto use projectors that have been in use roughly th


17

display technologies, with HOUT.

being able to reproduce a true nment, such as a planetarium,

to WATCHOUT. Without a true banding of the screen in the o or more overlapping projec-

and wall cubes may, however, a professional installer in order nce and image uniformity. Their lity.

ic mirror chip to modulate the ge of being 100% digital, and reliability – particularly h as DVI (see “DVI connector”

single chip and three chip. In a handles all three primary colors dulating mirrors. A three chip o the three primary colors, mbining the result to provide a s.

rs when used with WATCHOUT produced by most DLP projec-

Chapter

The following sections provide an overview ofspecial emphasis on aspects related to WATC

CRT-based Displays CRT projectors have the unique advantage of black. This is important in a totally dark envirowhen using the smooth edge-blending built inblack level, it is often impossible to avoid greyoverlap areas, due to the fact that there are twtors in this area.

CRT monitors and CRT-based video projectorsneed extensive adjustment and calibration by to obtain acceptable color matching, convergeanalog nature may also affect long-term stabi

DLP Projectors DLP (Digital Light Processor) uses a microscoplight. This display technology has the advantaresulting in excellent, long-term image stabilitywhen using a digital computer connection, sucon page 29).

There are two primary kinds of DLP projectors;single chip projector, one micromirror device using a color wheel synchronized with the moprojector uses a prism which splits the light intbouncing off three micromirror devices and cobrighter image, suitable for very large display

The most significant problem with DLP projectois the lack of a true black level. The poor black

1

mage areas. This is particu-ersely, is less of an issue in or similar environment. This jectors on small display DLP projector than you actu-g.

. In a DLP projector, light not orner inside the projector. ay out of the projector, e image area.

f projector, always perform g conditions. Details vary ls, and are not always stated have sufficient ANSI lumens ll eventually focus more on


tors often results in grey banding in overlapping ilarly noticeable in a totally dark room, and, convinstallations at, eg, a shopping mall, a trade-showproblem is magnified when using very bright proareas. Hence, you should avoid using a stronger ally need for your screen size and ambient lightin

Another slightly related problem is “light leakage”designated for the screen is bounced to another cInevitably, some of this unused light will find its wresulting in unwanted stray illumination outside th

To determine the suitability of a particular model oproper tests under realistic screen size and lightinwidely among manufacturers and projector modeon specification sheets. As most projectors today for their applications, projector manufacturers wiother aspects, such as true image contrast.

Read more about the DLP technology here:

http://www.ti.com/dlp/

http://www.ti.com/dlp/


19

any ways similar to DLP projec- and disadvantages. Instead of ector uses an “LCD slide” to his technology means some LCD DLP projectors, and exhibit less

ack level. The problem may be n DLP projectors, and there’s a er of LCD chip manufacturers. tors.

color matching, brightness and ted digitally. However, when play areas, bear in mind the

age quality when viewed from cally as you move off-center. horizontally than when moving ultiple landscape-oriented LCD

Chapter

LCD Projectors LCD (Liquid Crystal Display) projectors are in mtors, and share many of the same advantagesbouncing the image off a mirror, an LCD projmodulate the light. The more analog nature of tprojectors may require more adjustment than long-term stability.

LCD projectors may also suffer from a poor bleven more noticeable on LCD projectors than owider span of variation due to the large numbApply the same precautions as for DLP projec

LCD Display Panels Modern LCD displays typically have very goodlong-term stability – particularly when connecusing multiple LCD displays to build larger disoften limited viewing angle.

Most LCD displays are designed for optimal imthe front, with image quality degrading drastiOften, the viewing angle is better when movingvertically (as would be the case when placing mdisplays in a column).

2

P

y ways. Although they are ns such as trade show buted to their unique combi-right images and shallow

g as it is compatible with the ever, that many plasma ular 4:3 aspect ratio image

ptable in some single-screen creen system. To avoid this, that has the true number of

spect ratio.A


lasma Displays Plasma displays are similar to LCD panels in manexpensive, they have gained ground in applicatioexhibits and retail store displays. This can be attrination of large image size, wide viewing angle, bdepth.

Generally, you can use any plasma display as londisplay card in your display computer. Note, howdisplays distort the image in order to display a regin a wide screen format. While this may look acceapplications, it is usually not desirable in a multi-sensure that the display accepts a computer signalhorizontal and vertical pixels for its aspect ratio.

Same image stretched to a 16:9 a 4:3 aspect ratio image.

Chapter 3: Installation

21

ON

d software components as well

Installer”, either by down-

t/

ctions.

ftware from the WATCHOUT d as part of the CD-ROM instal-

, QuickTime is not included due already have QuickTime

ad/

ickly. However, it will need it downloads the various complete package before

ad/support/

3 3 INSTALLATIThis chapter tells you how to install the requireas how to hook up the hardware.

Production Software Obtain the “WATCHOUT Production Softwareloading it from the web at

http://www.dataton.se/products/watchou

or by ordering the WATCHOUT CD-ROM.

Run the installer and follow the onscreen instru

Installing QuickTime If you installed the WATCHOUT production soCD-ROM, QuickTime has already been installelation.

If you downloaded WATCHOUT from the webto licensing restrictions. In this case, unless youinstalled, you need to obtain it from Apple:

http://www.apple.com/quicktime/downlo

The above installer is small and downloads quInternet access to install QuickTime itself, sincecomponents piecemeal. If you prefer to get theinstalling, you can do so here:

http://www.apple.com/quicktime/downlo

▼ IMPORTANT: When install-ing QuickTime manually, make sure you install all components by choosing the Custom install option. If you don’t do this, some functions in WATCHOUT (eg, use of certain image for-mats) may not work.

http://www.dataton.se/products/watchout/

http://www.apple.com/quicktime/download/

http://www.apple.com/quicktime/download/support/

2

D

ither of the two methods evious page. The display nstalled simply by dragging disk.

lication to a new folder on

into the Extensions folder,

2 Chapter 3: Installation

isplay Software Obtain the WATCHOUT display software using ementioned under “Production Software” on the prsoftware consists of three components. They are ithe files to the appropriate locations on your hard

Start by dragging the “WATCHOUT Display” appyour hard drive.

Next, drag the two license key driver componentslocated inside the System folder.


23

the display card in your erating system or, in the case of rd manufacturer.

intosh/ATI display card drivers d “ATI Display Card Drivers”. If vers that came with your hard- these drivers instead.

ay drivers, move the old drivers r of your choice, so you can re-ed software in the Extensions them, open the Extensions fold- click the Name column.

by dragging them into the l files themselves – not the folder

Display Card Drivers The software components required to managecomputer usually come with the computer’s opa third party display card, from the display ca

For your convenience, a set of well known Macare included on the CD-ROM in a folder nameyou suspect you’re having trouble with the driware or system software, you may want to try

▼ IMPORTANT: Before installing new displfrom the Extensions folder to another foldestore them later if desired. All display-relatfolder begins with the word “ATI”. To locateer, choose “As List” on the View menu and

Install the included display card drivers simplyExtensions folder. You must drag the individuacontaining them – into the Extensions folder.

2

N

rs must be interconnected tical cases, this means ers. Although 100 MBit 0 MBit can also be used.

S

number of ports. Most hubs well as data rate (for 10/

, this is usually all you need

hernet hub

DisplayComputers


etwork Hook-up The production computer and all display computeusing a TCP/IP compatible network. In most pracEthernet, which comes standard on many computEthernet is recommended for best performance, 1

tand-alone System Connect all computers to a hub with the required have indicators that identify proper connection as100 MBit auto-sensing hubs).

For stand-alone operation of a WATCHOUT systemto do in terms of hardware hook-up.

100MBit Et

ProductionComputer


25

TCHOUT system to a larger tion phase for accessing media sts to continue working on the

rk to the WATCHOUT subnet in

UT hub to another hub on the

ch or router.

, or networks with relatively low large network will also be seen ir its performance. Chaining

ffect overall network reliability –

Connecting to a Larger Network

In some cases you may want to connect a WAnetwork. This can be useful during the producfiles located on servers, allowing graphics artimedia files during the production process.

In this case, you can connect the larger netwoeither of two ways:

• Using a simple up-link from the WATCHOlarger network.

• Using an up-link connected to a smart swit

The first option is suitable for smaller networksusage. The disadvantage is that all traffic on theby the WATCHOUT subsystem, and may impamultiple hubs in this way may also adversely aparticularly for 100 MBit networks.

2

U

as a switch, to forward only sub-net. This avoids colli-by improving the perfor- chain a large number of tion due to multiple hub

e production computer on using only dumb hubs, this this may be an issue. In this nfigured so that they allow

ction computer to the display omputers that make up a net when using smart


sing Switches The second option uses a “smart hub”, referred todata destined for a computer on the WATCHOUTsions with data not related to WATCHOUT, theremance of the entire network. It also allows you toswitches together without the risk of data degradahops.

In some rare cases it may be desirable to have thanother subnet than the display computers. Whenis not a problem. But when using smart switches, case, you must make sure that the switches are co“UDP broadcasts” to pass through from the producomputers. It is not advisable to split the display csingle WATCHOUT system on more than one subswitches.

HubUp-link

Switch/Router

To other partsof the network


27

HOUT license key, including the USB (Universal Serial Bus) port

nstall a USB hub to increase the have USB at all, install a USB lt into computer monitors or

re off-line without a license key go on-line to communicate with

License Keys Each computer in the system requires a WATCproduction computer. Plug the key into any freeon the computer.

If a computer does not have a free USB port, inumber of USB ports. If the computer doesn’t interface card. USB-hubs are occasionally buikeyboards.

◆ NOTE: You can run the production softwaconnected. A key is only needed when youthe display computers.

The license key connects to the USB port.

2

D

ologies. See “Displays” on You connect one display to play interface card (see

uter, keep the following in

the display computer close utlet.

se high-grade extension

log 15-pin, VGA-style

1

t common way of interfacing ferred to as a “VGA tion displays, such as SVGA

ibute the signal, using exten-lable from many manufac-

usceptible to hum and noise artefacts. This can result in e of this may be reduced by vice and/or display card.


isplays WATCHOUT can be used with most display technpage 16 for an overview of display technologies.each display computer using a recommended dis“Display Computer” on page 16).

When connecting the display to the display compmind:

• Keep the display cable short. If possible, placeto the display, powering both from the same o

• If you must extend the cable, make sure you ucables and distribution amplifiers.

Usually, the display is connected by using an anaconnector or a digital DVI connector.

5-pin Mini D-sub Connector The 15-pin mini D-sub connector is by far the mosa computer to a display device. Although often reconnector”, it is also used to connect higher resoluand XGA.

Advantages include the ability to extend and distrsion cables and distribution amplifiers (DAs) avaiturers.

Due to the analog nature of the signal, it is also sas well as signal interpretation and digitalization pixel jitter and poor or varying color fidelity. Somcareful adjustment and tweaking of the display de


29

gaining popularity in LCD flat ata to be displayed is digital to

ignal to analog, pass it through ck to digital form again in the y keeping the signal in the

o pixel jitter and best possible ided with little, or no, need for ge consistency and stability.

ifficult to run long cables or to . However, solutions to these nufacturers as the DVI standard

s also exist, more or less similar ros and cons of DVI, and differ or refresh frequency.

DVI Connector The DVI (Digital Visual Interface) connector is panels as well as DLP video projectors. As the dbegin with, it makes little sense to convert the sa VGA-style connector, and then convert it badisplay device. The DVI connector solves this bdigital domain all the way.

The advantages include a rock-solid image, nimage and color precision. This is usually provmanual adjustment, resulting in improved ima

The high speed digital signal makes it more ddistribute the signal to multiple display devicesneeds are beginning to appear from some magains in popularity.

Read more about the DVI standard here:

http://www.ddwg.org/

Other Digital Display Standards

A few other digital display connection standardto the DVI standard. Most of them share the pmainly in terms of maximum display resolution

Digital Visual Interface connector.

http://www.ddwg.org/

3

P

important to choose the your screen material from a ts of multi-image projection,

lver” screens. Such screens rojecting using multiple l angles.

ens is the “hot-spot” caused tion surface.

S

computers. Simply connect mm mini-jack) to the ampli-

signal a long distance, you ar adapter. This converts the balanced signal, thereby

ed to a professional audio

sound at the same time, nchronization between guage support or special l (eg, “phase accurate”)

S


rojection Screens As in all multi-screen projection applications, it isscreen material with caution. Make sure you buy screen manufacturer familiar with the requiremenor similar applications.

For front projection, avoid using high-gain, or “sioften cause uneven brightness or banding when pprojectors and/or when viewing from non-optima

A related problem when using rear projection screby the projection lens showing through the projec

ound Sound can be provided through any of the displaythe sound output from the computer (usually a 3.5fier or powered speakers.

If you need to run the computer’s line level audio should use an audio line level transformer, or similunbalanced signal coming from the computer to areducing the risk of hum and noise when connectamplifier.

You can have multiple display computers playingthereby providing multiple audio channels. The sycomputers is generally good enough for multi-laneffects sound tracks, but not for true multi-channesound reproduction.

ound output jack symbol.

hapter 4: Configuration

31

ATIONaintain the system for best

ed for TCP/IP networking. Click Panel. Open the Network tab and select “Disable DNS”.

network that has an accessible NS”, and enter the IP number of

you know your computer has you may experience difficulties and as transferring files to them.

C

4 4 CONFIGURThis chapter discusses how to configure and mperformance and reliability.

Production Computer The production computer needs to be configurthe Start button and choose Settings > Controlcontrol panel. Click the “DNS Configuration”

Alternatively, if your computer will be used on aDNS (Domain Name Server), select “Enable Dthe DNS.

▼ IMPORTANT: Do not enable DNS unlessaccess to a domain name server. Otherwisecommunicating with the display computers

3

umbers, as shown below.

building a stand-alone is connected to a larger strator for the correct IP twork provides automatic rver), you may choose

2 Chapter 4: Configuration

Next, choose the “IP Address” tab and enter the n

The address shown above is appropriate if you’reWATCHOUT system. If your WATCHOUT subnetnetwork, you should consult your network admininumber and subnet mask. Alternatively, if your neassignment of IP numbers (eg, through a DHCP se“Obtain an IP address automatically”.

hapter 4: Configuration 33

your WATCHOUT system, you splay computers. The settings ontrol Panels.

.

uration “WATCHOUT”. Click

C

Display Computer To achieve best performance and reliability ofneed to set a number of settings on all your dilisted below are found under Apple menu > C

TCP/IP • Open the “TCP/IP” control panel.

• Choose “Configurations” on the File menu

• Click “Duplicate” and name the new config“Make Active”.

Enter a unique number here for each display computer; eg, 10, 11, 12, etc.

3

illustration above, changing play computer is assigned a

of one production computer th IP addresses assigned like

t connected to a larger strator for the correct IP

e manually assigned a uter, the display computers signment.

Displaycomputers

.11192.168.0.12


• Set “Connect Via” to “Ethernet”.

• Set “Configure” to “Manually”.

Enter IP address and subnet mask, as shown in thethe last group of IP address digits so that each disunique address.

As an example; in a stand-alone system consistingand three display computers, you would end up withis:

If your WATCHOUT subnet is not stand-alone bunetwork, you should consult your network admininumber, subnet mask, and other parameters.

▼ IMPORTANT: Each display computer must bunique IP address. Unlike the production compcan not use automatic (dynamic) IP number as

192.168.0.1

Productioncomputer

192.168.0.10192.168.0


ff.

C

Memory • Open the “Memory” control panel.

• Set “Virtual Memory” and “RAM Disk” to O

• Set “Disk Cache” to “Default Setting”.

3

E

t the scheduled sleep and


nergy Saver • Open the “Energy Saver” control panel.

• Set the slider to “Never”.

• Click the “Schedule” button and make sure thawake-up features are turned off.


ctivate “Wake for network ad-

s not activated.

C

• Click the “Advanced Settings” button and aministration access”.

• Make sure that “Allow processor cycling” i

3

M

resentation and display de-

igh as possible while still be- multiple of your video frame r presentation is PAL (which et the refresh rate to 50, 75 or 120 Hz.


onitors • Open the “Monitors” control panel.

• Set “Color Depth” to “Millions”.

• Set “Resolution” to match the design of your pvice, eg, 800 x 600 for SVGA.

• Choose a refresh frequency (xxHz) that is as hing compatible with your display device and arate. Eg, if the video material to be used in youhas a refresh rate of 25 frames per second), sor 100 Hz. Likewise, for NTSC, choose 60, 90


ric RGB Profile” in the list.

entical on all display computers, e displayed images.

option.

l.

shut down improperly” option.

C

• Click the “Color” button and choose “Gene

▼ IMPORTANT: The color profile must be idsince this affects the color temperature of th

Date and Time • Open the “Date & Time” control panel.

• Turn off the “Use a Network Time Server”

• Set the “Menu Bar Clock” option to “Off”.

General Controls • Open the “General Controls” control pane

• Turn off the “Warn me if the computer was

4

C

F

e button in the File Sharing

A l.

ption.


ontrol Strip • Open the “Control Strip” control panel.

• Choose the “Hide Control Strip” option.

ile Sharing • Open the “File Sharing” control panel.

• Make sure that file sharing is turned off (ie, thsection reads “Start”).

pple Menu • Open the “Apple Menu Options” control pane

• Turn off the “Remember recently used items” o


nel.

cted Set” pop-up menu.

“WATCHOUT”.

ick the “Name” column heading

re, AppleTalk, Application rint Monitor, FBC Indexing ion, Find By Content, Folder Ac-ersonal IP Bgnd, Time Synchro-

KeyDriver, WkMAC.LIB.

C

Extensions Manager • Open the “Extensions Manager” control pa

• Choose “Mac OS 9.0.4 Base” on the “Sele

• Click “Duplicate Set”, naming the new set

• Choose “As Items” on the View menu and clto sort the list by name.

• Turn off the following extensions: AppleShaSwitcher, Desktop Print Spooler, Desktop PScheduler, File Sharing, File Sharing Extenstions, Launcher, Printer Share, ShareWay Pnizer.

• Turn on the following extensions: USBWibu

• Click the “Restart” button.

4

D cally fall into two categories; e general guidelines for

s guide of the display device

GC

ake sure all controls are set ay have a button or menu ood starting point.

ences in manufacturing, age e for such discrepancies by ouble-check that the monitor

an image spanning multiple d to another when that part


isplays Display devices to be used with WATCHOUT basimonitors and projectors. This section provides somsetting up display devices. Please refer to the user’at hand for further details.

eneral Set-up onsiderations

When using multiple displays of the same kind, min the same way on all displays. Some displays mitem to recall “factory defaults”, which is often a g

If the images still differ, it may be caused by differor running hours of the display. Try to compensattweaking parameters like brightness or contrast. Dsettings on the display computers match.

Turn off the auto-contrast mode, if any. Otherwise,displays may look darker on one display compareof the image contains brighter areas.


age fills the active display area ATCHOUT on one display r’s desktop, which typically fills rounded corners make it easier width and centering to ensure area, with no undershoot or

age fills the entire display area l show up as a dark band in the

ary when using a digital inter- page 29).

that all projector lenses are set distortion in their extreme posi- the zoom lens to one of the all set uniformly. If you need to , it is generally better to shift the use the zoom lens.

position. If not, fine details in ecome distorted.

n input signal that has a higher resolution – works like an elec- avoided, when possible, by

C

Projector Set-up and Alignment

For DLP and LCD projectors, ensure that the imexactly. The easiest way to do this is to quit Wcomputer at a time. This displays the computethe entire screen. Furthermore, on the Mac, theto detect any overshoot. Adjust image height, that the desktop exactly fills the active display overshoot in any direction.

▼ IMPORTANT: You must ensure that the imprecisely. Any overshoot or undershoot wiloverlap areas.

◆ NOTE: This adjustment may not be necessface, such as DVI (see “DVI Connector” on

If your projector has optical zoom, make sureidentically. As zoom lenses may cause image tions, try to avoid these positions. If not, settingextremes is a good way to ensure that they aretweak the size of images during the alignmentprojector slightly forward or backward than to

Set any electronic zoom function to its neutral images, such as thin lines, may disappear or b

Image scaling – a feature allowing you to use aor lower resolution than the projector’s native tronic zoom. Use of this feature should also beusing the native resolution of the projector.

4

ction. This compensates for ctronic keystoning will have

ut the projector on a flat the keystone correction the desktop of the display ines are smooth, with no on).

fting the projection lens ver-T projectors, doesn’t cause without problems.

with the baseline level with projector is placed on a flat ngle is usually illustrated in

late optimal projector place-

Are

Pk


Some projectors provide electronic keystone correimage distortion caused by tilting the projector. Elean adverse effect on image quality. To avoid it, psurface without tilting, display an image, and set control to give a square image. Again, projectingcomputer’s OS can help in ensuring that vertical ljaggies (as caused by electronic keystone correcti

◆ NOTE: Optical keystone correction (ie, by shitically), or electronic keystone correction in CRjaggies, and can therefore generally be used

Many projectors are designed to project an imagethe lens, or even slightly above the lens, when thesurface; a kind of fixed keystone correction. The athe projector’s manual, and can be used to calcument.

keystone-shaped image sulting from tilting the projector

rojector with built-in, optical eystone correction


he projectors must be placed le differences in the overlaps.

of its proposed image center on ween the projectors as between n surface). You may want to urpose, with horizontal and

the centers of the edge-blends, age.

is used to ensure correct align-e of the image and B is the width so that both distances C and D C and D distances equal the idth B minus the edge-blend of the lens as your point of refer-

face, out of reach for the audi-ignment of a projector.

t the edge blend layer(see “No can view the full size of each the image fills each display ex-e edge of the alignment image.

the Preferences dialog box. on the Stage menu to see the for more details.

C

Alignment When using multiple overlapping projectors, tcarefully so the images match up, with no visibEach projector must be placed exactly in front screen. There should be the same distance betas the image centers (assuming a flat projectioproduce a separate alignment image for this pvertical lines outlining the display surface andand cross-hairs marking the center of each im

In the example to the left, the wall of the roomment. A is the distance from the wall to the edgof the image. Position the right-most projectorequals A plus half of B. The second projector’sright-most projector’s values plus the image woverlap E. When measuring D, use the center ence, not the projector’s body.

The projectors must be placed on a steady surence. Even the slightest nudge may ruin the al

◆ HINT: By putting the alignment image pasEdge-blend Past Layer” on page 130), youdisplay. This makes it easier to ensure thatactly. Use a one-pixel wide outline along th

Adjusting the Edge Blend Curve

You can adjust the curve of the edge blends inAfter making any changes, choose “Update” effect. See “Edge-blend Curve” on page 122

C

D

A

E

B

12

Calculating the projector alignment:

C1 = A + B / 2D1 = C1C2 = C1 + B – E

4

S possibly including equaliza-t a large audience often has

nnel systems needs to be n in the production process.

s you to conceal loudspeak-

tle or no maintenance.Ifg the nificantly, you may want to

rol system – such as Dataton d flow and other aspects of


ound The sound system should be properly configured –tion –for the show environment. Keep in mind thaa significant impact on the acoustics.

The placement of individual speakers in multi-chathought out carefully, and taken into consideratio

◆ HINT: Special screen material exists that allowers behind a screen, if desired.

Once adjusted, the sound system should require litnumber of viewers, or their age range, varies siginstall a general volume control.

For large or complex installations, a separate contTRAX – can be used to manage sound levels, crowthe environment.


means it requires little or no r, a few details to keep in mind,

For example, projector lamps rescent back-lighting fade. The e manufacturer. Some displays you the number of hours of use.

itors and projectors, often intain image quality. Especially

he same image split across

er time. This largely depends on ur WATCHOUT system is to run to ensure that all projectors are

using an alignment image at color shift or similar degrada-

C

Maintenance A WATCHOUT system is 100% digital, whichmaintenance once installed. There are, howevedepending on the chosen display technology.

Display Degradation Most display technologies degrade over time. eventually burn out and LCD displays with fluoanticipated lifetime is usually available from thand projectors have built-in meters that can tell

Analog technologies, such as CRT-based monrequire re-calibration at regular intervals to mawhen used side by side or overlapping, with tseveral display areas.

Projector Alignment Projector alignment also tends to deteriorate ovhow or where the projectors are mounted. If yofor an extended period of time, it usually paysmounted firmly and out of reach.

Even so, it’s advisable to check the alignment regular intervals. This will also alert you to anytion that needs to be adjusted.

4

R drive will remain there WATCHOUT also creates er hierarchy on the display eft.

ts associated files by moving he trash and emptying the y run new shows using the uld eventually become full,

add many media files which ch media files, once trans-ed automatically. You can s described above, and then loaded. When downloading ay computer will be trans-


emoving Unused Files All files transferred to the display computer’s hardindefinitely. In addition to the source media files, various cache files. These files are stored in a foldcomputers that looks like in the illustration to the l

When you’ve finished running a show, delete all ithe folder having the same name as the show to ttrash. This is particularly important if you regularlsame set of display computers. The hard drive woresulting in failure to download new shows.

Likewise, as you edit your presentation, you may are later removed or replaced with other files. Suferred to the display computer, will not be discardremove unused files by deleting the show folder, aupdating the system to get a fresh set of files downfiles, only the files actually required on each displferred to that computer.

Folder containing data related to the show named “Seminar.watch”.

Folder containing all shows, located in the same folder as the WATCHOUT Display application.

Chapter 5: Planning 49

uld bear in mind before you set es you an overview of potential nts on show design and produc-

lowing kinds of presentations:

solution and unique formats verage computer-based slide is also easy to revise and

ith features like fast editing and ATCHOUT is ideal when you hanges.

terms of display types and freedom.

y areas from one central loca-and sections to highlight new tributed automatically through-

X® or other control systems with lighting, sound and even patible network wiring to man-

5 5 PLANNINGThis chapter covers some of the things you shoout to create a WATCHOUT presentation. It givuses for WATCHOUT. It also provides some hition techniques.

Application Areas WATCHOUT is particularly suitable for the fol

• Corporate presentations. The high resupported by WATCHOUT knock out the apresentation. A WATCHOUT presentation change.

• Speaker support at conferences. Wautomatic updating of the entire system, Wneed to make those inevitable last minute c

• Trade show displays. The flexibility inplacement gives you unparalleled creative

• Retail displays. Manage multiple displation. Update or replace individual images products or special offers. Changes are disout all store display areas.

• Museums. Integration with Dataton TRAmeans your presentation can be integratedinteractive control. Use existing TCP/IP comage the system.

5

ive presentations using and often very expensive

; multiple image walls, as are now within reach.

PE

scale, the presentation envi-erience of the viewer.

Li ole when choosing the right

rporate theater, means you hnology. The only issue to LP and CRT projectors may

verlapping display areas.

seum, gives you similar on technologies are devel-f fact, the grey banding y areas is often less of an

nge, may limit your use of ing conditions may vary monitors or wall cubes are e issues can be overcome by ing more powerful projec-

0 Chapter 5: Planning

The scalability allows you to create large, impressmultiple, small displays rather than a single, largeone. This also gives you greater creative freedomcolumns, strips or individual, scattered image are

resentation nvironment

As a WATCHOUT presentation is typically large-ronment plays an important role in the overall exp

ghting Conditions The lighting conditions of the room play a major rdisplay technology and arrangement.

A fully dark room, eg, a dedicated “cinema” or cocan choose virtually any display or projection teckeep in mind is that the poor black level of most Dcause grey banding and color shift when using o

A semi-dark room, say in a visitor center or a mufreedom, since most modern display and projectioped with this environment in mind. As a matter ocaused by poor black levels of overlapping displaissue in a semi-lit environment.

A fully lit room, eg, a retail store or an airport louprojection technology – particularly so if the lightthroughout the day. In this case, plasma screens, often a better choice than projection. Some of thesreducing the size of the projected image, or by ustors.


ging. Using carefully placed ogy may help. Here you’re rer or staging company special-

of display areas, the expected nt factor. Many display technol-r less directional, making the

ence, you may arrange display audience. This gives you the e displays as well as the sound

reasons, take this into account very wide viewing angles. This an across multiple displays, by differences in viewing angle

presentation environment; for , or similar. This is even more ystem and loud speaker place-ocal sound effects are often very rson in the audience may only at a time, which is easy to over-

Outdoor presentations are particularly challenshades or specialized outdoor display technolstrongly advised to team up with a manufactuizing in outdoor display technology.

Audience Placement In determining the location and arrangement location and size of the audience is an importaogies – most notably LCD panels – are more oviewing angle an important consideration.

For a small, stationary and concentrated audiareas so they face the expected location of thegreatest freedom in choice and placement of thsystem.

If the audience is large or spread out for otherby choosing displays and screen material withis particularly true if displaying images that spsince color shifts or other phenomenons causedoften become very obvious.

In some cases, the audience move through theexample, a museum, an amusement park ridechallenging, especially in terms of the sound sment. In this case, multiple sound channels for leffective. Also keep in mind that any given pesee a small portion of the overall presentation look in the story-boarding phase.

5

C sign and experience of a UT with a presentation you to control some aspects dience flow. This cuts the e production process. It also

Dti

ent of display technology:

technology can you afford? y areas have on the produc-

ntation Environment” on g the right display technolo-

ATCHOUT applications call n amusement park ride. See

y:

all cubes.

eas to overlap, making it sing the automatic edge-Displays” on page 16 for


ontrolling the Environment The environment plays an important role in the deWATCHOUT presentation. Integrating WATCHOcontrol system, such as Dataton TRAX, may allowof the presentation environment as well as the aunumber of possibilities you need to consider in thgives the audience a better general experience.

isplay Considera-ons

Many factors determine the choice and arrangem

• Budget. How many and what kind of displayWhat impact will the number and size of displation cost?

• Environment. As you can see under “Presepage 50, this is an important factor in choosingy.

• Audience flow and placement. Some Wfor multiple displays by their very design, eg, a“Audience Placement” on page 51.

There are two primary kinds of display technolog

• Projectors (CRT, LCD and DLP technologies).

• Monitors, panels, plasma screens and video w

Projectors stand apart since they allow display arpossible to build larger, seamless display areas ublending built into WATCHOUT. Please refer to “more details on the various display technologies.


s image areas by allowing each of overlap is usually referred to , half of the projected width or

a. In general, the larger overlap ear. Acceptable overlap ranges and long-term stability of ply a smaller amount of overlap l slide-projector, multi-image

erlap simply by locating the ed in pixels. The Stage window pper left corner. Place the left-indow; eg, at position top: 100 utside visible display areas, eg,

from here, taking the desired each projector displays 800 by orizontal position 100 through overlap out of 800 pixels is y area will start at horizontal

Overlapping Display Areas Using projectors, you can build larger, seamlesprojector to overlap its neighbors. The amountin terms of its percentage. With a 50% overlapheight intrudes into the adjacent projection areyou use, the more seamless the image will appfrom 20 to 50 percent. Due to the consistencymodern computer projectors, you can often apin WATCHOUT than you could with traditionatechniques.

In WATCHOUT, you specify the amount of ovscreens at the corresponding positions, specifihas a coordinate system with its origo in the umost/topmost display slightly into the Stage wand left: 100. This allows you to place images oto fly them in.

You continue to calculate the screen positions amount of overlap into account. Assuming that600 pixels, the first display extends from the hto 900 (100 + image with). A 30% horizontal800 x 0.30 = 240 pixels, so the second displaposition 900 – 240 = 660 pixels.

5

e dialog box of each display w (see “Display

ake realistic tests with typical rs under realistic image size e amount of overlap you’re chnology chosen, is suitable


These positions can be entered numerically into thby double-clicking the display in the Stage windoSpecifications” on page 134).

▼ IMPORTANT: You are strongly advised to mimage material and the desired kind of projectoand lighting conditions. This will show you if thconsidering, as well as the kind of projection tefor your presentation.

Stage

Screen 1 Screen 2

x:100, y:100

800 – 30%

x:660, y:100


d format of the presentation, the hly outlining the various sections

and use it to create the story-endition of what the end result rrange the parts of the

uction or editing tools. You can software from companies such u’re already producing such ou need in this area, since ats.

ermined and your storyboard s. The still images can be

mated.

Storyboarding Once you have determined the overall style annext step is usually to make a storyboard, rougand even individual images.

Alternatively, you jump right into WATCHOUTboard. The Stage window gives you a rough rwill look like, and the Timeline allows you to apresentation.

Media Production WATCHOUT doesn’t include any media prodobtain graphics, sound, video and animation as Adobe, Macromedia and Digidesign. If yomaterial, you most likely already have what yWATCHOUT can import most media file form

Still Images Once your display arrangement has been dethas been approved, start producing the imagedivided into three categories:

• Large background images.

• Smaller images to be superimposed or ani

• Texts.

WATCHOUT Launch _________WATCHOUT Launch _________

WATCHOUT Launch _________WATCHOUT Launch _________

5

to begin with, as WATCH-rge background images that to do anything in particular, te for the total area to be

ckgrounds or each other. All n and out. In addition, small hem to move along a line or

ntire display surfaces as a rectangular outline. For n be moved around to point can be accomplished by the shape of image areas or on page 61.

and must be created and be Illustrator). Static text can . Dynamic text, to be super-aved as individual media ensures that the text appears

Ad

Ab


All images must be produced at the proper scale OUT does not provide any scaling functions. For laare to cover several display areas, you don’t needexcept to ensure that the image size is appropriacovered by the image.

Smaller images can be superimposed on larger baimages – large and small – can be made to fade iimages can be dynamically positioned, allowing tpath.

Although large background images often cover erectangle, smaller images frequently have a non-example, you may want to make an arrow that caout details on an object, as shown to the left. Thismeans of transparent areas in the image; definingtheir degree of transparency. See “Transparency”

Text is handled in the same way as small images,rendered in an image editing application (eg, Adoof course be added to a background beforehandimposed on backgrounds or animated, must be sfiles. Again, the use of a transparent background smooth on top of other images.

See “Still Images” on page 59 for more details.

large image spanning multiple isplay areas.

smaller image with transparent ackground.


uced by one of the following

erred or digitized to a computer

ther forms of high resolution

plications or 3D animation and

bly the easiest way to obtain ile can often be used as is, with any case you’ll need a video This also allows you to scale the

s film, can give you even higher such material is scanned frame e combined into a single file format.

as Adobe After Effects, Macro- as Alias/Wavefront Maya can s. In some cases, such material owing you to overlay non-round images. Even if the video -process it to add transparency, e its shape.

Moving Images Moving images (eg, Video) are typically prodmeans:

• Shot using a video camera, and then transffile.

• Scanned in, frame by frame, from film or osource material.

• Computer generated, using compositing aprendering software.

Using a modern digital video camera is probavideo footage. In WATCHOUT, such a video fno further processing required. However, in mediting software package to edit the material. video, save it to a variety of file formats, etc.

Scanning from a high resolution source, such aresolution source material to work with. Often,by frame to individual files, which must then busing the desired frame-rate and compression

Compositing and authoring applications such media Director or 3D animation software suchbe used to produce “synthetic” moving imagecan also include transparency information, allsquare video on top of other material or backgstarted out as square, it’s often possible to posteg, to make a hole in a video clip, or to chang

Background image

Masked video

Result

5

ware. Performance varies or depth and compression the hardware you intend to n for your source video

terial, it must end up being yed back using QuickTime,

ls.

S hin the digital domain. Most sed to convert analog audio d editing software to choose a SoundEdit to sophisticated and Digidesign’s ProTools.

ere the sound is embedded is, playing together with the separately.

play computer is capable of und). This can be used, for nels, or for providing multi-


Video playback requires powerful playback harddepending on the size, frame-rate, resolution, colformat used. You may need to make some tests onuse for playback to determine the best combinatiomaterial.

Regardless of the method used to produce the mastored as a file on your hard disk that can be plaoften referred to as a movie file.

See “Moving Images” on page 67 for more detai

ound Sound is usually produced and edited entirely witcomputers include sound input ports that can be uto digital formats. There’s a large number of sounfrom, ranging from basic ones such as Macromediapplications such as Sonic Foundry’s SoundForge

Sound can also originate from video material, whin the video file. Such sound can be used either asvideo, or extracted from the video file to be used

When using multiple display computers, each dissupplying two audio channels (ie, stereophonic soexample, to provide additional sound effects chanlingual sound tracks.

See “Audio” on page 81 for more details.

Chapter 6: Media Files 59

St include any media creation or your presentation must be

a and file formats supported by applications used to create or

in a folder that is located in the or in a sub-folder. This allows s, making it easier to move the

ounds, or as smaller images ound the stage. You can also es.

ts, including BMP, GIF, JPEG/lanar, SGI, Targa and TIFF.

t native to the application used use Photoshop to edit images, ost image editing applications

ts, doing so generally causes a o edit the image later.

6 6 MEDIA FILEWATCHOUT is a compositing tool; it does noediting functions. All media files to be used insupplied or edited using other means.

This chapter provides an overview of the mediWATCHOUT, as well as examples of popularedit such media files.

▼ IMPORTANT: Keep a show’s media filessame folder as the WATCHOUT show file,the software to use relative file access pathshow to another disk or computer.

Still Images Still images can be used as, stationary backgrsuperimposed on other images and moved arcontrol the degree of transparency for all imag

Supported Formats WATCHOUT reads most popular image formaJFIF, MacPaint, Photoshop, PICT, PNG, RGB P

In general, you should choose an image formato create/edit the images. For example, if yousave the images as Photoshop files. Although msupport saving or exporting to other file formaloss of information. This may make it difficult t

6

ing a digital camera), JPEG mpromise between image lossy compression format. tails in the original image herefore want to save a copy t to manipulate the image p, Targa (TGA) and PNG.

th areas (eg, screenshots), vely, use the native PICT

image files into WATCH-ay be added. A complete list be found under Apple’s

qt/us/help/

0 Chapter 6: Media Files

For photographic images (eg, scanned or shot usat a high quality setting often provides the best coquality and file size. Keep in mind that JPEG is a This means that minor, normally unnoticeable, demay be lost in the compression process. You may tin a loss-less format as well, in case you later wanagain. Examples of loss-less formats are Photosho

For computer-generated images with large, smooPNG is a suitable cross-platform format. Alternatiformat under MacOS or BMP under Windows.

Apple’s QuickTime technology is used to read allOUT. As QuickTime evolves, additional formats mof image file formats supported by QuickTime canQuickTime support page:

http://www.apple.com/quicktime/resources/

http://www.apple.com/quicktime/resources/qt/us/help/QuickTimeHelp.htm


rmation in addition to the image es referred to as an “alpha ations use this term for other op). Transparency can be used ges or semi-transparent areas, and Targa file are examples of

ts writing to a particular file for-t format. Perform tests with im-

ar formats and applications.

n composited in UT.

Transparency Some image formats include transparency infoitself. This transparency information is sometimchannel”, although some image editing applicfunctions (eg, editing masks in Adobe Photoshto create non-square images, holes inside imasuch as drop shadows. Photoshop, PNG, TIFFfile formats that support transparency.

▼ CAUTION: Even if an application suppormat, it may not support transparency in thaages to determine the suitability of particul

+ =

Background image. Image with a transparent back-ground and a semi-transparent shadow.

Result wheWATCHO

6

U CHOUT using Adobe Illus-

edit it later.

d save it as a PNG file using

UT presentation.


sing Adobe lllustrator Follow these steps to create a still image for WATtrator version 9.

1. Open Adobe Illustrator.

2. Choose “New” on the File menu.

3. Set the Color Mode to “RGB Color”.

4. Draw the image.

5. Save it as an Illustrator file, allowing you to

6. Choose “Save for Web” on the File menu anthe settings shown on the next page.

7. Use the resulting PNG file in your WATCHO


e PNG-24,“Transpa- and “Anti-Alias”.

Choosrency”

Settings in Adobe Illustrator for use with WATCHOUT.

6

U CHOUT using Adobe Photo-

on the File menu.

to “Transparent”.

file for use in your

Cshinp

◆


sing Adobe Photoshop Follow these steps to create a still image for WATshop version 5.5.

1. Open Adobe Photoshop and choose “New”

2. Set the Mode to “RGB Color” and Contents

3. Paint the image and save it as a Photoshop WATCHOUT presentation.

hoose “Transparent”. This ows as a grey checkerboard Photoshop and becomes trans-arent in WATCHOUT.

HINT: Use multiple layers in Pho-toshop for more flexible control over image composition. Layer masks allow you to “paint” addi-tional transparency onto individual layers.


ATCHOUT using Macromedia

he File menu.

u to edit it later.

sing PNG as the file format.

Using Macromedia Freehand Follow these steps to create a still image for WFreeHand version 9.

1. Open Freehand and choose “New” on t

2. Draw the image.

3. Save it as an FreeHand file, allowing yo

4. Choose “Export” on the File menu, choo

5. Click the “Options…” button.

Choose the “PNG” format…

…then click “Options”.

6

Bit with Alpha”.

icking “OK”, then click

dure once. Choose “Export most recently specified


6. Set the options as shown to the left.

7. Click the “More…” button and choose “32-

8. Close the two secondary dialog boxes by cl“Export” to save the file.

◆ HINT: You only have to go through this proceAgain” on the File menu to re-export using thesettings.


eation and editing. Text must be cations, such as those described

portant that the application ncy. It must also be able to mount of transparency; often properly, the edges of the text tour or halo around the charac-

for information on how to turn r and FreeHand.

ved in a QuickTime-compatible dustry-standard moving image dless of the origin, type and ferred to as a movie.

nder moving images. The pro-esenting the moving image. This uickTime movie file. This is the

.

abilities and performance of a

.

d vs non interlaced).

Text WATCHOUT has no built-in support for text crcreated and saved as images using other appliabove under “Still Images”.

Anti-aliasing When overlaying texts on other images, it is imused to save the text image supports transparerender the edges of the text using a variable areferred to as anti-aliasing. If that is not done will appear jagged, or there will be a thin conters.

See the illustrations on page 63 and page 66 on anti-aliasing when exporting from Illustrato

Moving Images WATCHOUT can play back moving images saformat. QuickTime can read or import most informats, including AVI, DV and MPEG. Regarformat of material, a QuickTime file is often re

◆ NOTE: Only the display computers will reduction computer displays a static icon repricon is taken from the Poster Frame of the Qfirst frame in the movie, unless set explicitly

Formats, Capabilities and Performance

There are many factors that determine the capQuickTime movie:

• The resolution of the movie frame, in pixels

• The frame rate and frame format (interlace

6

ed or camera.

rce material.

resolution is determined by 576 for PAL (DV). Some-o resolution can be useful – size in this way dramatically the material, and also image. This may also allow

rce format, with NTSC d PAL at 25 fps. Use the

rences dialog box to tell “Base Frame Rate” on page

erlaced, meaning that they , each containing half of the fields are interwoven to es result in an undesirable d (sometimes referred to as ose typically used with jects moving horizontally, or as Media Cleaner Pro, can


• The origin of the movie; eg, computer generat

• The quality and “cleanness” of the movie’s sou

• The codec used to compress the movie.

• The color depth at which the movie is stored.

When using material originating from video, the the video format; 720 x 480 for NTSC and 720 xtimes, using a resolution of precisely half the videparticularly for smaller video inserts. Reducing thereduces the load on the computer for reproducingremoves any interlacing artefacts from the resultingyou to use a higher quality codec.

The frame rate for video is determined by the souplaying back at 29.97 frames per second (fps) an“Base Frame rate” setting in WATCHOUT’s PrefeWATCHOUT which frame rate to optimize for (see121).

Note that both the PAL and NTSC formats are intreproduce each image in two phases, called fieldsimage’s resolution. When played back, these tworeproduce the full image frame. This may sometim“comb effect” when played back on non-interlace“progressive scan”) computer displays, such as thWATCHOUT. This is particularly noticeable for obduring pans. Some specialized applications, suchde-interlace interlaced movie files.


will look, compress and play oor light or using a camera professional video. Noise and avy burden on the codec, some cases, an application such d enhance the quality of the

composite still images with hieve a higher perceived resolu-nd images with video inserts also “Optimizing Playback of

ns on how to improve playback

Start out with the best quality video footage. Itbetter. A low quality video, eg, video shot in pthat’s not steady, contains more “noise” than aunnecessarily moving backgrounds place a heresulting in reduced playback performance. In as Media Cleaner Pro can be used to filter ansource footage prior to compression.

Improving Perceived Playback Quality

Keep in mind that WATCHOUT allows you to moving images. Thus, it is often possible to action and quality by combining large backgrouthan by using a single, large video image. SeeLarge Videos” on page 94 for more suggestioperformance.

Video inserted into a high resolution background.

7

C , you must specify the frame endering. Generally, when terial, the frame rate is

o main choices:

in size.

nerated moving images only the parts of an image

en on the playback machine, d that you can make non-ing transparency options in

lution independent, it is also gle display area. Such large TCHOUT (see “Pre-splitting


omputer Generated Material When using computer-generated moving imagesrate and resolution of the resulting movie during rcombining computer generated and live video madictated by the live material.

In terms of resolution and frame size, you have tw

• Smaller inserts, less than a single display area

• Large areas, spanning multiple displays

It’s often advantageous to use smaller compute-gelayered on top of larger still images. By renderingthat actually move, not only do you lower the burdbut you also reduce rendering times. Keep in minsquare movies, or even holes inside movies, by ussupporting applications and codecs.

As computer generated movies are by nature resopossible to make movies that are larger than a sinmovies must be pre-split in order to be used in WALarge Movies” on page 76).


n software, often save the may also be the case when ch a sequence of images must appropriate frame rate, before an be done using, for example,

ll ending in a frame number. name extension; eg, Under MacOS, file extensions

. To assemble a movie from still port, Footage File” on the File elect the “<Format> Sequence” ified in Preferences prior to y time by choosing “Interpret

. Using Media Cleaner, choose locate the first image in the

the desired frame rate.

Assembling Individual Frames Some applications, most notably 3D animatioresulting frames as individual image files. Thisscanning images frame by frame from film. Sube converted into a QuickTime movie, with theit can be incorporated into WATCHOUT. This cAdobe After Effects or Media Cleaner Pro.

The individual images must be saved as files aUnder Windows, this number precedes the fileFile000.bmp, File001.bmp, File003.bmp, etc.are typically not required.

Assembling using Adobe After Effectsimages using Adobe After Effects, choose “Immenu, select the first file in the sequence, and scheckbox. The desired frame rate can be specimporting the images, or can be altered at anFootage, Main” on the File menu.

Assembling using Media Cleaner Pro“Open Image Sequence” on the File menu andsequence. Media Cleaner will prompt you for

7

U cy information in the gener- either come from the source r be added afterwards (for ideo clip).

movies with holes in them, in many creative ways.

movie file, you must choose colors. The “+” at the end metimes also called on that’s capable of repro-ion, such as After Effects). re details.

resulting movie to minimize all important image infor-eft portion of a video frame, tration). Doing so cuts the deo as time is not wasted on be shown anyway.

Ctrtro

C


sing Transparency Some applications support inclusion of transparenated QuickTime movie file. Such transparency canmaterial (eg, a computer generated animation), oexample, a feathered, round mask applied to a v

Being able to create arbitrarily shaped movies, ormeans you can combine moving and still images

In order to include transparency information in thea codec that’s capable of handling “Millions+” ofstands for the transparency information. This is so“Millions+Alpha”. You must also use an applicatiducing and/or generating transparency informatSee “Making a Round Movie” on page 73 for mo

When masking video material in this way, crop thethe size of the enclosing frame while still retainingmation. For example, if you need only the upper lonly save the minimum rectangular area (see illusamount of processing required to play back the vide-compressing parts of the image that will never

omputer generated movie with ansparent background and semi-ansparent drop shadow playing ver a background image.

Original movie size.Masked out circle.

rop rectangle.


cts, you can apply arbitrarily r example, to make a round ask can have a feathered edge, image when composited in

The example to the left shows a ing Adobe Photoshop. Add this ar on top of the video you wish y clicking the eye symbol of the alpha matte.

Making a Round Movie Using an application such as Adobe After Effeshaped masks to movies. This can be used, fomovie, or any other shape. Furthermore, the mmaking it blend smoothly into the backgroundWATCHOUT.

Start by creating a mask of the desired shape.round mask with a feathered edge, created usmask to a layer in After Effects, making it appeto mask. Turn off the video for this mask track btrack. In the video track, apply the mask as an

A feathered, black mask named “Face-Mask.ps”, created in Photoshop.

Turn off the rendering of the mask once positioned.

Apply the mask as an “Alpha Matte” to the video track.

Resulting image, before and after applying the alpha matte.

7

C f the editing and display k digitized video. Due to the

ng and playing back uncom-

kTime, each optimized for a equirements. Here’s a ecs:

iginated video. Plays well on

riginated video. Can typi-rame rate.

mized for computer- set to “Millions+” of colors.

erated material. Supports

mall files. Optimized for film ll video frame size at full

ed for video editing. Gener-e frame size is fixed, based

files. Optimized for camera rter of the video format’s


hoosing a Codec Codec stands for encoder/decoder. It’s the part otechnology responsible for storing and playing baclarge amount of raw data in a video stream, storipressed video is usually not practical or possible.

There’s a wide variety of codecs available in Quicparticular kind of source material and playback rrundown of some of the more commonly used cod

Cinepak. Low quality. Optimized for camera ormost machines.

Video. Medium quality. Optimized for camera ocally be used up to full video frame size with full f

Graphics. High quality. Low compression. Optigenerated material. Supports transparency when

PNG. High quality. Optimized for computer-gentransparency when set to “Millions+” of colors.

Sorenson. Medium-to-high quality. Generates sor camera originated video. Can be used up to fuframe rate, depending on encoding settings.

DV. High quality. Medium compression. Optimizated directly by most digital video cameras. Nativon video format’s frame size.

MPEG-1. Medium quality. Generates very smallvideo. Native frame size is fixed, based on a quaframe size.


a video. Used on DVD video ill be in QuickTime version 5.

r your source material and play-ation. As computer hardware n this area will improve as well.

see this web page:

es/qt/us/help/

be found here:

MPEG-2. High quality. Optimized for camerdiscs. Not yet supported by QuickTime, but w

Choosing the right codec and codec settings foback hardware may require some experimentand system software evolves, the capabilities i

For an overview of the standard codec types,

http://www.apple.com/quicktime/resourc

More information about additional codecs can

http://www.codeccentral.com/

http://www.apple.com/quicktime/resources/qt/us/help/QuickTime?Help.htm

http://www.codeccentral.com/

7

P display, the movie must be single display computer is at’s larger than its display side the visible display area.

till images, it is not handled son for this difference is that ave to be compressed in omputers. These could then oing so, they would have to

ress the result again for final e will be compressed twice, The end result would be a

rage and bandwidth consid-ginal (large) movie in order in compressing it twice. The , particularly to achieve the


re-splitting Large Movies In order to play a movie that’s larger than a singlesplit into multiple movies, one for each display. Agenerally not capable of playing back a movie thsize, even though some of the image would fall out

While this function is built into WATCHOUT for sautomatically for moving images. The primary reathe original, large-size movie would most likely horder to be stored and distributed to the display chandle the splitting, as they do for still images. In ddecompress each frame, split it and then re-compplayback. This would mean that each movie frammost likely using lossy compression in both cases.loss of image quality.

In addition to this quality aspect, there are also stoerations related to distributing and storing the orito split it, as well as the processing time involved latter would be significant for such a large moviebest quality).


sing the originating application, you to crop the output to any n set up batches to generate all

l displays with a 30% overlap, ixels, the split would appear as

of the image in the overlap will displays aren’t overlapping you es of the display areas by speci-plit.

elative to the initial image size. d to be calculated based on the .

vie into smaller pieces like this, s the source. Doing so would in-ompression step, resulting in

rt out with the original material, ame image files.

This can all be avoided by splitting the image uprior to compression. Most applications allowdesired rectangle. In some cases, you can evethe individual movie files in one go.

Assuming that you have two 800 by 600 pixeand want to display a movie of 1200 by 480 pin the illustration to the left.

Include the overlap in the split, since the portionhave to play on both displays. Likewise, if the will have to factor in any gap between the edgfying a corresponding gap when making the s

Note that most applications specify cropping rThis means that the bottom and right edges neeheight and width of the original (large) image

▼ IMPORTANT: When splitting a large moavoid using a heavily compressed movie atroduce an additional de-compression/re-clower quality. Thus, whenever possible, stasuch as individual, computer-generated, fr

A 1200-by-480 movie to be pre-split across two overlapping 800 by 600 display areas.

Crop right by 480 pixels.

Crop left by 480 pixels.

7

ffects:

Cre


This is how you would split a movie using After E

rop the resulting movie as quired on each side.


ATCHOUT presentation, use a 9 and page 127.

tions you can use to generate

ideo editing applications, ic but also easy to use, and it is featured video editing applica-eras that connect through the

ideo editing application, avail-at iMovie is too basic and Final l. It’s also one of the oldest appli-ered by many as an industry es.

can use essentially any video as it provides full access to the g a Windows based applica-

QuickTime – not just the ability

This example is from Media Cleaner Pro:

To incorporate your pre-split movie into your W“Video Media Proxy” as described on page 8

Example Applications This section gives an overview of some applicaand manipulate moving images.

Apple iMovie and Final Cut. Mac-only vbased on QuickTime. iMovie is somewhat bascurrently available for free. Final Cut is a fullytion. Both function well with digital video camFireWire port on the Mac.

Adobe Premiere. This is another popular vable on both Mac and Windows. If you feel thCut is too expensive, Premiere should fit the bilcations around for video editing, and is considworkhorse in terms of reliability and capabiliti

Other Video Editing Applications. Youediting package on Mac or Windows as longcodecs provided by QuickTime. When choosintion, make sure that it gives you full access to

8

file format, which may not ec technology.

n both Mac and Windows, g video compositing and nd still images and control method means that it can ccompanied by a corre-

g video into WATCHOUT of video into non-rectan-

multiple displays, etc.

used for creating interactive d to create animated Quick-u want to incorporate a ion, just export it as a Quick-rated material, use a high-

background, and therefore ss post-processing is per-

that is in many ways similar a novice user. It’s become ations.

Although QuickTime h animations directly, this is UT due to the unpredictable


to export the video in a “QuickTime compatible” include the latest advancements in QuickTime cod

Adobe After Effects. After Effects, available ois one of the most popular computer tools for doineffects. As in WATCHOUT, you can layer video atheir properties over time. However, its renderingapply many more effects to the material (usually asponding increase in rendering time).

After Effects is a professional tool for incorporatinpresentations in creative ways. It handles maskinggular shapes, cropping, splitting large movies for

Macromedia Director. Director is most often CD-ROMs and games. However, it can also be useTime movies in a way similar to After Effects. If yoDirector animations into a WATCHOUT presentatTime Movie (Video). As with most computer-genequality codec such as Animation or PNG.

◆ NOTE: Director does not support transparentcan only be used to make square movies unleformed in another application.

Macromedia Flash. Flash is another programto Director, although somewhat less confusing forvery popular for creating interactive web-site anim

Just like Director, it can also export to QuickTime.includes a Flash codec, allowing you to play Flasgenerally not recommended for use in WATCHO


Flash vector format. Instead, uitable codec (this feature is tep outlined below under

nel”). However, background ) not preserved when exporting background transparency, e containing a Flash track), then xport it using the desired codec, h this extra step is inconvenient, since the first step uses the Flash quality loss due to compression.

very similar to moving images. nd place its icon on the display und file to play.

so that it straddles multiple dis- sound file to play from multiple ay from a computer that isn’t re-unnecessary processing load on

hat QuickTime can handle. s are AIFF (a popular sound der Windows). There’s usually at, such as MP3, and the addi-

oad. The size of uncompressed

playback rendering times related to the nativeexport it as a “QuickTime Video”, using any savailable under MacOS only – use the extra sWindows).

Flash does support transparency (“alpha chantransparency is currently (as of Flash version 4as a “QuickTime Video” directly. To preserve export it as “QuickTime” (ie, a QuickTime moviopen this using the QuickTime Player and re-echoosing a color depth of “Millions+”. Althougit does not reduce the quality of the end result vector format, and therefore doesn’t suffer any

Audio Audio is used in WATCHOUT in a way that’s Simply bring the sound file into WATCHOUT ain the Stage window where you want to the so

◆ NOTE: Do not place the sound file’s icon plays, unless you specifically want the samedisplay computers. Having the sound file plally used for sound reproduction places an that computer.

Audio File Formats WATCHOUT can play any sound file format tHowever, the recommended sound file formatformat under MacOS) and WAV (common unno reason to use a compressed sound file formtional decompression step adds unnecessary l

8

omputers used to play back

U k in addition to the video. In ay computer(s) as the video t of the movie and place it in ia files; one containing the them separately in mputer. You’ll need two

he same time.

mpatible video editing soft-ie into two separate movies.


sound files is usually not an issue with the kind of cWATCHOUT presentations.

sing Embedded Audio Some video and movie files contain an audio tracthis case, the sound will play from the same displdoes. If you don’t want this, cut the sound track oua file of its own, thereby ending up with two medvideo and one the audio. This allows you to placeWATCHOUT, making the sound play from any coseparate cues along the timeline to start them at t

You can use QuickTime Pro or any QuickTime coware to split the audio and video tracks of a mov

In QuickTime Player, open the composite movie then choose “Extract Tracks” on the Edit menu.

This extracts the sound track into its own movie, which you can then save.


is way, you may remove it from mmand. Alternatively, just ks” command. Keeping the if you need to go back to that

d movies to the presentation, as t page. You can now position

Once you have extracted the sound track in ththe original movie using the “Delete Tracks” codisable the sound track using the “Enable Tracsound in the original file can be an advantagefile to make changes.

In WATCHOUT, add both the video and sounseparate tracks, see the illustration on the nex

When saving the movie, make sure you save it as “Self-contained”.

8

g the sound track to play


them independently in the Stage window, allowinseparately.

Chapter 7: Production 85

No produce a presentation using y planned the presentation and in the previous two chapters.

isplay areas and provides a es that appear inside a display nging displays side by side or displays.

“Add Display” on the Stage ndard display sizes. Once a other settings through its Speci-ns” on page 134).

ing it with the mouse so it shows enu.

tage menu is activated, you can

do, images that span multiple ges. Alternatively, displays can

p between them, for a videowall indow according to the actual

image areas, images that span

7 7 PRODUCTIOThis chapter goes through the steps required tWATCHOUT. It assumes that you have alreadproduced the source media files, as described

Stage The Stage window allows you to arrange the dpreview of your presentation. Portions of imagwill be shown by that physical display. By arravertically, you can make images span multiple

Adding and Removing Displays

To add a display to the Stage window, choosemenu. This menu item provides a choice of stadisplay has been added, set its IP address andfications dialog box (see “Display Specificatio

To remove a display, select the display by clicka bold outline, then choose Clear on the Edit m

◆ NOTE: If the “Lock Displays” item on the Snot select, change or delete displays.

Arranging Displays Displays may overlap each other. When they displays will be automatically blended at the edbe positioned edge-to-edge, or with a small galook. By positioning the displays in the Stage warrangement and separation of the monitors or

8

ereby avoid manipulation or

r desired positions using the rically by selecting a display e in the desired position, in

e (see “Display

order to manipulate the dis- bar. You can not select the as this is used to select and the “Lock Displays” item on t, change or delete displays.

Ne

Op

6 Chapter 7: Production

multiple display areas will line up properly. You thadaptation of the images themselves.

To arrange the displays, simply drag them to theimouse. Alternatively, you can position them numeand choosing Specifications on the Edit menu. Typpixels, relative to the upper left corner of the StagSpecifications” on page 134).

◆ NOTES: The Stage window must be selected inplays. To select the Stage window, click its titleStage window by clicking inside the window, move images when the window is not active. Ifthe Stage menu is activated, you can not selec

on-overlapping displays, g, plasma screens.

verlapping displays, using rojectors.


ages as well as sound. These with only minor differences es” for more details.

edia file to the desired position e dragged from the disk or

ing media items from the Media

files should be stored in a folder UT show file. This allows

Media The term “media” refers to moving and still immedia types are treated in very similar ways, where appropriate. See Chapter 6 “Media Fil

Adding Media To add media to your presentation, drag the min the Timeline or Stage window. Media can bfolder where it is stored, or you can drag existwindow.

▼ IMPORTANT: Whenever possible, medialocated in the same folder as the WATCHO

Media file dragged into timeline…

…appears as a cue in the timeline as well as being displayed in the Stage window.

8

making it easier to move the

E how by double-clicking its rom a cue in the Timeline ow Media”, then proceed as

R resh” on the Media menu to se “Update” on the Stage ell.

P ve added many media items dia references persist in the ally use them. To remove se “Purge Unused” on the

entries from the Media win-es from your hard disk

Co

ant to keep both the old and nge your mind. In this case, ith different names. To

dow and a file, double-click other file. This will affect all

the same kind. You can not example.


WATCHOUT to use relative file access paths, show to another disk or computer.

diting a Media File You can open any media file referred to in your sicon in the Media window. To access the media fwindow, first double-click the cue and choose “Shdescribed above.

efreshing Media Information After making changes to media files, choose “Refload those changes into WATCHOUT. Then choomenu to update the stage with these changes as w

urging Media After working with a show for a while, you may hathat are not included in the final version. These meMedia window, regardless whether any cues actusuch unused media from the Media window, chooMedia menu.

◆ NOTE: This operation will only remove unuseddow – it will not remove any corresponding fil

hanging the File Association f a Media List Item

Sometimes, when editing a media file, you may wthe new version of the file around, in case you chayou end up with two or more similar media files wchange the link between an item in the Media winthe file name in the Media window and choose ancues that use this media list item.

◆ NOTE: You can only relink it to another file ofchange from an image file to a sound file, for


our presentation but can not en in the following cases:

uction computer, but you know . Perhaps the media requires a r, possibly using dedicated ction computer.

n pre-split into multiple files (see

y for other reasons need to be lay computer at a later time.

ese cases. Once a media proxy d on the timeline just like other

or more details.

Using Media Proxies Occasionally, you may want to use media in yimport it simply by dragging. This would happ

• The media file isn’t recognized by the prodit can be handled by the display computersspecialized codec in the playback computehardware, that’s not available in the produ

• The media file is a large movie that has bee“Pre-splitting Large Movies” on page 76).

• The media may not yet be available, or maprovided or replaced manually on the disp

Use a media proxy to accommodate any of thhas been added to the media list, it can be usemedia items. See “Add Proxy” on page 127 f

9

T of cues and effects, as well ol the display and presenta-ious aspects of the media.

ow can be controlled using rease the precision by which oom out to get a better over-e scale gradually. Changing timeline or its cues.

A a onto the timeline and drop on page 87. Cues can be relationship. Select multiple ragging diagonally, starting

me layer. Doing so may u want images to overlap in . Overlapping cues are indi-


imeline The Timeline window shows the temporal relationas the layering of overlapping media. Cues contrtion of media, and use tween tracks to control var

The amount of time displayed in the Timeline windthe buttons in the lower left corner. Zoom in to incyou can position cues and set their duration, or zview. The rightmost button allows you to change ththe time scale has no effect on the behavior of the

dding Media Cues To add a media cue to the timeline, drag the mediit at the desired layer and time position, as showndragged along the timeline to change their timingcues by shift-clicking the cues, or by clicking and dfrom a point where there are no cues.

◆ IMPORTANT: Do not overlap cues on the sacause images to display incorrectly. When yotime, always put their cues on separate layerscated by a red warning line above the cues.

Zoom buttons that control the time scale.


ppears in the upper left corner make the image appear else-window to the desired position.

ition numerically using the Cue uble-clicking the cue (see “Cue

it may be obscured by larger rther down in the timeline

e window is selected before

Positioning Media on the Stage

When media is added to the timeline, it also aof the top/left display in the Stage window. Towhere, drag the image’s preview in the Stage

◆ NOTE: You can also control the stage posSpecifications dialog box, displayed by doSpecifications” on page 140).

If the image isn’t visible in the Stage window, images. In this case, drag the cue to a layer fuwindow to move its image closer to the front.

▼ IMPORTANT: Make sure that the Timelinmoving the image in the Stage window.

Drag the image in the Stage window.

9

La you to control the layering e closer to the front, drag its To move the cue without le dragging. To add a new Timeline window.

Cti

y dragging a new media list edia association of that cue

x move or other effect using o re-use, then replace its me-

TTbb


yering Media The horizontal tracks in the Timeline window allowof images in the Stage window. To move an imagcue downwards to a layer with a higher number.changing its time position, press the Shift key whilayer, drag a cue down below the last layer in the

hanging the Media Associa-on of a Cue

You can change the media association of a cue bitem or media file onto the cue. This changes the monly, while retaining all other relevant properties.

◆ HINT: This can be used to duplicate a compledifferent media. First make a copy of the cue tdia association as described above.

he height of each layer in the imeline window can be adjusted y dragging the bar located at the ottom of the layer’s title area.


uration of the cue is set to the es to the timeline, the duration

d. You can change the duration ated at the end of the cue.

s, their tween points will, by de-eline. To make the tween tracks Alt key while dragging the bar.

on the stage for the duration of ut short by decreasing the dura- the actual length of the media le. Extending the duration of a

Timeline window, you can also Specifications dialog box. e Edit menu, or simply double-e 140 for more details.

Changing a Cue’s Duration When adding moving images or sound, the dduration of the media. When adding still imagof the cue is set to a default value of one seconby selecting the cue and dragging the bar loc

◆ NOTE: If the cue contains any tween trackfault, remain stationary in relation to the timcontract or expand with the cue, press the

For still images, the image will simply remain the cue. A moving image or sound file can be ction of the cue. Increasing the duration beyondwill make a movie stop with its last frame visibsound file has no effect.

Cue Specifications In addition to direct manipulation of cues in theset most parameters numerically using the CueSelect the cue and choose Specifications on thclick the cue. See “Cue Specifications” on pag

9

OV

want to play a video that fits , overlapping displays. Even normally also plays on those y not a problem, it places by using two or more andled by just one. In partic-r videos on those display mputer may not be capable .

onto the display after the es of the video becoming ntirely within one display r in the Timeline Settings age 130), then put the video (as indicated by a heavy,

jacent displays, you may ce adjacent displays may p on the video.


ptimizing Playback of Large ideos

When using overlapping display areas, you may within one display but also intrudes into adjacentthough the video fits entirely within one display, it other, intersecting displays. While this is generallunnecessary burdens on those display computers computers to play a video that could actually be hular, this can be an issue if you want to play othecomputers at the same time, as a single display coof sustaining more than one large video at a time

This can all be avoided by compositing the videoedge-blend has been applied. This avoids the edgfeathered by the edge blend, allowing it to play ecomputer. To do this, specify the edge blend layedialog box (see “No Edge-blend Past Layer” on pbelow the last edge blended layer of the Timelineblack line).

◆ HINT: Depending on the image shown on adhave to add a black box behind the video, sinotherwise superimpose their part of the overla


ause cues to the timeline by nu. When reached during play- This is useful when cueing a

e with the start of another cue, . If you don’t do this, the Pause u may want to dedicate a layer

Using Pause Cues In addition to media cues, you can also add pchoosing “Add Pause Cue” on the Timeline meback, a pause cue causes the timeline to stop.presentation manually.

◆ NOTE: If you want a pause cue to coincidthen put the pause cue on a separate layercue may be hidden behind the other cue. Yofor pause cues only.

A Pause cue being added to the timeline.

9

T mically throughout the cue. to make an image fade in olume of a sound or movie

A the yellow arrow that ps down a menu that allows ending on the type of media

nwards. If this causes parts increase the height of the below the layer’s title area.

each tween track by drag-

Cse


ween Tracks Tween tracks control the behavior of media dynaFor instance, you can use an Opacity tween trackand out, or a Volume tween track to reduce the vfile.

dding a Tween track To add a tween track, first select the cue then clickappears in the lower left corner of the cue. This droyou to add (or remove) relevant tween tracks, depmanaged.

Adding a tween track causes the cue to grow dowof the cue to become obscured by the next layer, cue’s layer by dragging the horizontal bar locatedLikewise, you can change the displayed height of

lick the yellow triangle of a lected cue to add a tween track.


ck. This also increases the preci-ck’s information.

itself unless you use it to change done by adding and adjusting en points provide values acting

tween-track where there isn’t ween point, drag it using the ge window provides a preview

to constrain the movement of the

ging the bar along the bottom of the tween trasion by which you view and edit the tween tra

Adding Points Adding a tween track to a cue has no effect in the value governed by the tween track. This is tween points along the tween track. These tweas key-frames along the cue’s tween track.

To add a tween point, click anywhere along aalready a tween point. To edit the value of a tmouse. As you edit the cue in this way, the Staof the result. Press the shift key while dragging tween point.

Click here to collapse a layer.

Drag here to change the height of a tween track.

Drag here to change the height of a layer.

9

CP

smooth points. A corner is ng the left mouse button. A nge gradually, and linearly, vior, particularly when

s added by clicking the right e by a rubber band. When the rubber band stretches, for all kinds of tween tracks, ents using a Position tween

R rack until it disappears. It is int.

AcAri


orners and Smooth Tween oints

There are two kinds of tween points: corners and represented by a blue dot, and is added by clickisequence of corner points causes the value to chabetween the points. Often, this is the desired behacontrolling opacity or volume.

A smooth point is represented by a red dot, and imouse button. It acts as a pin attached to the curvyou move the smooth point away from the curve, causing the curve to bend. While this can be usedit is particularly useful for making smooth movemtrack.

emoving a Tween Point To remove a point, drag it away from the tween tnot possible to move or remove the first tween po

dd a blue corner point by left-licking.dd a red, smooth tween point by ght-clicking.


uration drag bar, you have the r current time positions or e, as if the cue was a rubber the rubber band effect.

nd out, or to make objects semi-another, you only need to fade need to do anything to the e front image.

image contains transparent or w through (see “Transparency”

to fade out the image below to

and moving images.

e of sound files and movie files eral sound files simultaneously, e while fading out the other.

ove along a path on stage. To tion, first go to the desired time dow to that location.

e image for the cue, make sure ing of the cue before dragging w tween point will be added in-ed at the beginning of the cue, ty track area, then click the cue.

Stretching Tween Tracks When changing the length of a cue using its doption of either leaving its tween points at theimaking them expand and contract with the cuband. Press the Alt key during the drag to get

Opacity Use an opacity tween track to fade objects in atransparent. To cross-fade from one image to the opacity of the front-most image. You don’timage behind it, as this will be obscured by th

There is one exception to the above rule. If thesemi-transparent areas, the back image will shoon page 61). In this case, you may also need perform a smooth cross-fade.

An opacity tween track can be applied to still

Volume Use a volume tween track to control the volumcontaining embedded sound. You can play sevand cross fade between them by fading up on

Position Use a position tween track to make an image mmake the image move to a specific stage locaposition, then drag the image in the Stage win

◆ NOTE: To change the initial location of ththe timeline is positioned at the very beginnthe image in the Stage window. If not, a nestead. To ensure that the timeline is positionfirst de-select all cues by clicking in an emp

1

E t then move the image in the t to make sure that the time- tween point will be added

in the desired location of the to the initial location, as ns” on page 140).

M st add a smooth tween point tween track using the right position in the Stage widow. the Stage window.

C e image accelerate or slow ooth tween point, then drag ser to the previous tween

Adwp


diting Position Points To change a position, click the position tween poinStage window. You must click the tween point firsline is positioned at the correct time. If not, a newinstead.

Alternatively, double-click the tween point to type image. Note that the location you enter is relativedetermined by the cue itself (see “Cue Specificatio

oving Along a Curved Path To make the image move along a curved path, firby clicking at the desired time position along the mouse button. Then drag the image to the desired A yellow line indicates the image’s motion path in

ontrolling the Velocity A smooth tween point also allows you to make thdown gradually. To accomplish this, first add a smthe point itself along its tween track. Moving it clo

dd a smooth tween point then rag the image in the Stage indow to move along a smooth ath.


nd slower at the end, and vice trol.

point, makes it move faster at the beginning aversa. Add more tween points for greater con

Faster at the start.

Faster at the end.

1

hapter 8: Presentation 103

IONHOUT presentation from your rs, and run the presentation. It

entation can be used and

and display computers, isplay software on each display e menu. This causes the produc-ters and transfer all required

cated by a stop sign in the Stage

splay software on the offending rk configuration to ensure that it -up” on page 24 as well respec-ge 33). Also confirm that the IP ettings in the Display Specifica-on page 134).

cting to the display computers TCHOUT and/or on the display

C

8 8 PRESENTATThis chapter tells you how to take your WATCproduction computer onto the display computediscusses the various ways in which your prescontrolled.

Connecting to the Display Computers

After installing and configuring the productionproducing the presentation, and starting the dcomputer, you can select “Online” on the Stagtion computer to connect to the display compuinformation to them, ready for playback.

Failure to connect to a display computer is indiwindow.

If you get a stop sign, quit the WATCHOUT didisplay computer and double-check the netwohas been set up properly (see “Network Hooktive network configurations on page 31 and paaddress of the display computer matches the stions dialog box (see “Display Specifications”

Any further problems encountered after connewill be reported in the Message window in WAcomputer.

Stop icon indicates a problem connecting to the display computer.

1

D to make sure that all display computers. quired on the individual T will detect this and transfer

ay computer, a wristwatch ge window, as well as You may continue working but you will not be able to ious update has completed.

deselecting “Online” on the rrently in progress will finish

computer will remain there ow is stored in a folder with folder in the same folder as

u may want to clean up the and emptying the trash This stops old shows from

Thretr

04 Chapter 8: Presentation

ownloading Media Whenever you go online, WATCHOUT will checkrequired media files have been transferred to the WATCHOUT will only transfer the files actually recomputer. If you modify a media file, WATCHOUthe updated file.

While media files are being transferred to a displsymbol will be displayed in that display in the Staprogress messages on the display computer itself.in WATCHOUT while files are being transferred, further update or access the display until the prev

◆ HINT: You can abort an update in progress byStage menu. If you do this, any file transfer cubefore stopping.

Note that all media files transferred to the displayuntil removed manually. The media related to a shthe name of the show. This is located in a “Shows”the WATCHOUT display software application.

After using a display computer to run a show, yoShows folder by putting its contents into the trash before using that computer to run another show. occupying hard disk space unnecessarily.

e “Shows” folder contains a folder lated to each show that has been ansferred to the display computer.


e, you can transfer them to the nd on the Stage menu. This s making changes to existing

splay computers, the ill disappear. You are now the play button in the lower left acebar.

y clicking in the time ruler at the ose “Timeline Settings” on the .

lled presentations, you can add is hit, WATCHOUT will stop . To resume the presentation,

stance, you can use a remote n Digital Media Remote:

emote/

C

Updating the Stage If you make changes to your show while onlindisplay computers using the “Update” commaincludes adding new media or cues, as well acues or other aspects of your presentation.

Running the Presentation

Once all media has been transferred to the diWATCHOUT logo on the display computers wready to run your presentation. To run it, clickcorner of the Timeline window, or press the sp

You can jump to any point along the timeline btop of the Timeline window. Alternatively, choTimeline menu and type in the time to jump to

Manual Control For speaker support, or other manually controPause cues to the timeline. When a pause cuerunning, just as if you had stopped it manuallypress the spacebar again.

If you want to run your presentation from a dicontrol for your computer, such as the Keyspa

http://www.keyspan.com/products/usb/r

http://www.keyspan.com/products/usb/remote/

1

Lo want your WATCHOUT ervals. To accomplish this, select the “Auto Start” check-

ck time when you start the sition when the show is start-

Se


oping the Presentation For a tradeshow, or similar application, you maypresentation to restart automatically at regular intchoose “Timeline Settings” on the Timeline menu, box, and type in the desired cycle time.

◆ NOTE: The interval is based on the actual closhow. It is not related to the current timeline poed.

elect “Auto-restart” and nter the total cycle time.


t to integrate WATCHOUT with his can be accomplished by OUT production computer.

ort on the production computer menu in the Preferences dialog

serdisc serial control protocol. It position in the show. The frame osition in the show, using a PAL- for more details on the protocol

C

External Control For more complex applications, you may wanDataton TRAX or some other control system. Tmeans of external serial control of the WATCH

Connect the external controller to a free serial pand activate that control port using the pop-upbox.

The control protocol is based on the Pioneer laprovides the ability to start, stop and locate anynumber command allows you to jump to any pbased (25 fps) frame number. See Appendix Aimplementation.

Activates external control through a serial port on the production computer.

1

Chapter 9: Windows 109

9 9 WINDOWS

Stage Window, showing the display areas as well as a rough preview of the presentation.

Timeline Window, showing the layers and the cues.

Media Window, listing all media used in your presentation.

Message Window, listing any messages, such as warnings and errors.

1

M window, with a menu bar window by dragging any of e it using the buttons in the lent to choosing Quit on the

bar. Resize a window by imize and maximize a r. Windows can not be e bottom of the desktop

Mth

M

M

D

Mre

10 Chapter 9: Windows

anipulating Windows All WATCHOUT windows reside inside a desktoprunning along its top. You can resize the desktop its outer borders or corners. Minimize or maximizupper right corner. Clicking the close box is equivaFile menu.

Move a WATCHOUT window by dragging its titledragging any of its corners or outer borders. Minwindow using the buttons in the upper right corneclosed – only minimized into a small tab along thwindow.

inimize, maximize and close e WATCHOUT desktop.

enu bar.

inimize and maximize.

rag border or corner to resize.

inimized windows. Click to store.


the display areas used in the r presentation as you move dia on stage.

Add Display on the Stage menu.

agging it to the desired location ll be added to the Timeline position. To remove the media,

it in the Stage window. To do the image in the Stage window. et its position numerically by int.

n point in this way, first click the ou don’t click the tween point

tead.

Stage Window The Stage window is used to add and arrangepresentation. It also provides a preview of youalong the timeline, and lets you to position me

Adding Displays To add a display to the Stage window, choose See Chapter 11 for more details on displays.

Adding Media You can add media to your presentation by drin the Stage window. A corresponding cue wiwindow at the currently selected layer and timeyou must remove the cue from the timeline.

Positioning Media Preview Images

You can position media on stage by draggingso, first select the Timeline window, then drag Press the Shift key to constrain the move. Or sdouble-clicking the cue or a position tween po

▼ IMPORTANT: To change a position tweetween track point then move the image. If yfirst, a new tween point may be added ins

Off line indicator, corre-sponding to the “Online” Stage menu item.

Displays added to the Stage window.

Selected display.

1

T your presentation. Cues are ont stacking order of images ge closer to the front.

S ted layer. When pasting an lected time and layer. Like-age window, a new cue will

C ze it vertically. Alternatively, he layer height. Shift click to

C

C

D

C

D

P

Jump button.

Time ruler

Layer

Time scale buttons.


imeline Window The Timeline window holds the cues that make uparranged along layers, representing the back-to-fron stage. Increasing layer numbers move the ima

electing the Current Layer Click a layer’s name to make it the currently selecindividual cue, it will be pasted at the currently sewise, when adding media by dragging into the Stappear at the currently selected time and layer.

hanging Layer Height Drag the separator below the layer’s name to resiuse the collapse triangle to minimize and restore tcollapse/expand all layers.

urrent time position and indicator.

urrently selected layer.

rag to resize layer.

ollapsed layer.

isabled layer preview.

lay button.


ow, click the layer preview ble all layers. Disabling a layer window that otherwise would abled layer. Disabling a layer’s n.

nd out by a fixed amount. Drag uttons to change the scale grad-

e time ruler, to jump to the o jump back to the previous start

k. If the stage is online, this also , the Stage window shows a cts. Movies do not play in the alent to clicking the play button.

Alternatively, choose “Timeline time to jump to.

k or the Media window to the r more details on cues.

Disabling Layer Preview To disable the layer preview in the Stage windsymbol to turn it off. Shift click to disable/enaallows you to manipulate images in the Stage have been obscured behind images on the dispreview has no effect on its playback on scree

Adjusting the Time Scale Click the magnifying glass buttons to zoom in athe button to the right of the magnifying glass bually.

The Jump Button Click the jump button, located to the right of thcurrent time position if scrolled out of view, or ttime.

Starting and Stopping Click the play button to start and stop playbaccontrols playback on screen. During playbackcoarse preview of the images and applied effeStage window. Pressing the space bar is equiv

Jumping to a Time Position Click the time ruler to jump to a time position.Settings” on the Timeline menu and type in the

Adding Cues To add a cue, drag media from your hard disTimeline or Stage window. See Chapter 12 fo

1

M been added to the presenta-, along with a description of e and other information, as

A ard disk into the Media r Stage windows are auto-ch media file used in your indow, regardless of how

D

Tm

Dit

Da


edia Window The Media window lists all media items that havetion. It provides a thumbnail preview of each itemits type, name, modification date, file location, sizappropriate for each kind of media.

dding Media Add new media by dragging the file from your hwindow. Files dragged directly into the Timeline omatically added to the Media window as well. Eapresentation will only appear once in the Media wmany times it’s being used.

rag to change icon column width.

humbnail and description of each edia item.

ouble-click to open the media in s associated application

ouble-click to change media file ssociation.


indow by choosing “Purge to remove media that’s currently items in this way does not affect

the second line in the textual folder in which the presentation to this folder. Otherwise, it will racter.

edia files under the same folder e use of relative path names to entire presentation to another ute path names may cause prob-le after moving the presentation.

file locations, you may move the a folder under the folder con-d/Replace command to update ngly. See “Find/Replace” on

ticular media list item is by sing another file. This will affect u can only replace a media file replace an image with a sound).

Removing Media Remove unused media items from the Media wUnused” on the Media menu. It is not possible in use in the presentation. Removing media listthe files stored on your computer’s hard disk.

Media File Location The location of each media file is indicated ondescription. If the file is located in or under theitself is saved, the path to the file will be relativebe an absolute path, beginning with a ‘/’-cha

▼ IMPORTANT: Whenever possible, store mas the presentation file, since this allows ththe files. Doing so allows you to move the folder, disk or computer intact. Using absollems if the specified location is not availab

◆ HINT: If you change you mind concerning files to a more appropriate location (eg, totaining the show file), and then use the Finthe locations in the Media window accordipage 123.

Changing the File Association You can change the file associated with a pardouble-clicking the Description field and chooall cues associated with this media list item. Yowith another of the same type (ie, you can not

1

E , double-click its Icon field. view or edit it.

roperly in order to associate .

R ia list in WATCHOUT enu. See “Refresh” on page

A ged into the Media list (see pply). In such cases, you can sing the “Add Proxy” n page 127 for more details.


diting the Media File To open a media file in its associated applicationThis allows you to access a media file in order to

◆ NOTE: Your computer must have been set up peach file type with the appropriate application

efreshing Media Information After editing media files, you can update the Medaccordingly by choosing “Refresh” on the Media m129 for more details.

dding a Media Proxy In some cases, media files can not simply be dragpage 89 for some examples on when this would ainstead add a proxy item to the Media window ucommand on the Media menu. See “Add Proxy” o


you by WATCHOUT. Such oftware or from the display tive while others indicate errors

tomatically when the first mes-

ift-clicking or by choosing ear” on the Edit menu.

Message Window The message window lists the messages sent tomessages may originate from the production scomputers. Some messages are merely informarequiring your attention.

◆ NOTE: The Message window appears ausage is posted.

Removing Messages To remove messages, select them (either by Sh“Select All” on the Edit menu) then choose “Cl

An information message reporting the result of the Refresh command.

An error message from a media list item telling you that it can’t find its associated media file.

1

Chapter 10: Menus 119

he entire presentation, such as

me and location of the

rrangements and cues, simply aste them in the new one.

10 10 MENUSFile Menu The File menu provides commands related to t

Opening old shows or creating new ones.

New Creates a new presentation, specifying the naWATCHOUT show file.

◆ HINT: To re-use objects such as display acopy them from the old presentation then p

Navigate to the desired folder using this pop-up menu and by double-clicking folders.

Type the name of the presentation here, then click Save.

1

O

S in the file and folder chosen

Q n alert.

Nud

SO

20 Chapter 10: Menus

pen Opens an existing WATCHOUT presentation.

ave Saves the currently open presentation. It is saved by the most recent Open or New command.

uit Quits WATCHOUT after displaying a confirmatio

avigate to the containing folder sing this pop-up menu and by ouble-clicking folders.

elect the presentation then click pen.


ngs of the presentation.

lly only differ in the last few the common initial part in this igits into the specifications dress” on page 134).

that separates the last two ress is made by simply concat-ss Prefix” field with the contents

ur presentation, if any. This ehavior to match the target

et the frame rate used by any ideo material in your presen-tion.

ctivate external control port, g, for controlling ATCHOUT from TRAX.

Preferences Allows you to specify some miscellaneous setti

Display Address Prefix The IP addresses assigned to the displays usuadigits (see illustration on page 34). By enteringfield, you then only have to enter the last few ddialog box of each individual display (see “Ad

▼ IMPORTANT: You must enter the period groups of digits here. The complete IP addenating the contents of the “Display Addreof the display’s Address field.

Base Frame Rate Specifies the primary type of video used in yosetting lets WATCHOUT optimize some of its bframe rate.

Enter the common part of the display’s IP Address here.

Edit the gradient of the edge blend by dragging this tween point. Click to add more points.

Svta

AeW

1

E lend. Although it is possible ot required.The same curve ponds to the outer edge of

rve, enlarge the window by your changes, click OK then

E T production software. This ion from TRAX or other ns for positioning, starting ol” on page 143 for more

E current window or currently

U

C ng them to be pasted in else-ther position along the

C the copies to be pasted in ay configurations or cues etween presentations in this ansfer along with the cues, in the target presentation.


dge-blend Curve Drag the red dot to adjust the curve of the edge bto add more points to the curve, this is generally nis applied to all edges. The left of the curve corresthe gradient, which is always black.

◆ NOTE: For better precision in adjusting the cudragging one of its corners. To see the result ofchoose Update on the Stage menu.

xternal Serial Control Activates external serial control of the WATCHOUallows you to control your WATCHOUT presentatcontrol systems. The control protocol has provisioand stopping the presentation. See “Serial Protocdetails.

dit Menu The Edit menu contains commands applying to theselected objects (eg, displays, cues).

ndo Undo is not yet available in WATCHOUT.

ut Transfers selected objects to the clipboard, allowiwhere. Use this, for example, to move cues to anotimeline.

opy Copies selected objects to the clipboard, allowingelsewhere. Use this, for example, to transfer displbetween presentations. When transferring cues bway, any media associated with these cues will trand will be automatically added to the media list


into the current window.

ontents of the clipboard.

lected object. This is equivalent e object. See “Display cations” on page 140 for more

is applies to the Media window specifying the name of the can also find folder names, etc. n, as displayed for each item in bsolute path to the media file.

Text to replace the found text.

Finds/replaces one at a time or all at once.

Paste Pastes the most recently cut or copied objects

Clear Removes selected objects without altering the c

Select All Selects all objects in the current window.

Specifications Opens the Specifications dialog box for the seto pressing the Enter key or double-clicking thSpecifications” on page 134 and “Cue Specifidetails.

Find/Replace Finds and optionally replaces specified text. Thonly, and allows you to locate media items bymedia file, or any part of the path name. You The command looks at the Location informatiothe Media window, indicating the relative or a

Text to find in the Location field of media list items.

Check this box if you want to replace the found text.

Searches currently selected media list items only.

1

th to media files after they stance, if you start out with rly stage of production, you a sub-folder of the folder files, use the Find/Replace name (beginning with a ‘/’

e of a folder located in the

stored in a folder named volume named “E:” during e media files into a folder WATCHOUT presentation o the Find/Replace dialog ly.

F

Tc

C

CaTb

o leading ‘/’ indicates a ath relative to the folder ontaining the presentation le.


You can use the Replace function to update the pahave been moved to another disk or folder. For inyour media files on a shared server during the eamay later want to consolidate all media files into containing the presentation file. After copying thecommand to change the absolute part of the pathcharacter) to a relative (ie, beginning with the namsame folder as your presentation).

As an example, assume that the media files were“WATCHOUT/Production1/Media” on a networkproduction process. You have now copied all thesnamed “Media” located in the same folder as thefile. You would then enter the following values intbox to update all relevant media paths according

ind/Replace Again Repeats the most recent Find/Replace command.

he leading ‘/’ character indi-ates an absolute path.

heck to replace.

hoose “All at Once” to change ll matching items, or “One at a ime” to review each change efore proceeding.

Npcfi


tents of the Stage window.

Stage window. After adding a box and enter its specifications

display sizes as shortcuts. You ialog box as long as it is rface card in the display

window, avoiding changing ormally turn this option on once entation.

ow. A larger preview gives you mages. It also limits how much viewing images.

Stage window. If your source n change to another color. This mages shown by the display

name of the media item, rather pdating of the Stage window

sition images.

Stage Menu The Stage menu applies specifically to the con

Add Display Adds a new display of the specified size to thedisplay, you must open its specifications dialog(see “Cue Specifications” on page 140).

The secondary menu provides some common can, however, enter any size in the display’s dsupported by the physical display and the intecomputer.

Lock Displays When checked, locks all displays in the Stagetheir settings or positions once set. You would nyou have configured all displays for your pres

Preview Scale Determines the viewing scale of the Stage windgreater precision in positioning displays and iyou can see and will perform slower when pre

Background Color Allows you to set the background color of the material is hard to see on the default color thehas no effect on the background color of the icomputers.

Wireframe Preview Displays all images as boxes that contain the than showing the image. This results in faster upreview, and is often useful when trying to po

1

O n track, it may become hard ting this option causes a

ng them easier to see.

O omputers. Once connected, on the timeline and start/

ted by a stop sign inside that the Display Computers” on age window.

U changes you’ve made to the ed media files to the display


utline Dimmed Images When an image is dimmed using an opacity tweeto see and manipulate in the Stage window. Selecframe to be displayed around such images, maki

nline Connects the production computer to the display cthe display computers will follow you as you jumpstop the presentation.

Failure connecting to a display computer is indicadisplay in the Stage window (see “Connecting to page 103). Other errors are reported in the Mess

pdate Updates all connected display computers with anypresentation, including transferring new or modificomputers.


ntents of the Media window.

. Use a proxy to handle media nto the Media window, as ge 89.

e kind of proxy being added.

on applies to video and other ave pre-split a large movie, as

Media Menu The Media menu applies specifically to the co

Add Proxy Adds a proxy media item of the kind specifiedthat can not be added simply by dragging it idescribed under “Using Media Proxies” on pa

Which options are available vary based on th

Pre-split or Multiple Displays. This optimoving image media only. Check this if you h

1

age 76. In this case, the in the File/Folder field. This cts with the movie. Each file

movie called “LargeMovie”. Display 2”. You would then “Display 1” and “Display 2” u then specify that folder in

if “Pre-split or Multiple field you specify the file or e the “Choose” button next set “File Transfer” to

ive path to a file that may not ided manually to the display

ransferred manually or auto-play computers. Normally, “Manual” if the file is to be if the file is not yet available.

UT will make sure that the he dialog box. If you choose ovide the file, and

Applies to moving images


described under “Pre-splitting Large Movies” on presulting files must be placed in a folder specifiedfolder will contain one file per display that intersemust be named after its target display.

As an example, assume you start out with a largeThis spans two displays named “Display 1” and “pre-split the movie into two files. Name those files and put them in a folder named “LargeMovie”. Yothe File/Folder field.

File/Folder. The title of this field reads “Folder”Displays” is selected, otherwise it reads “File”. In folder associated with the media item. You can usto the field to choose an existing file/folder. If you“Manual”, you would instead type the fictive, relatexist on the production computer, but will be provcomputer.

File Transfer. Specifies whether the file will be tmatically from the production computer to the disyou would choose “Automatic”. You may chooseprovided later, directly to the display computer, or

◆ NOTE: If you choose “Automatic”, WATCHOfile/folder you specified exists prior to closing t“Manual”, it becomes your responsibility to prWATCHOUT will not verify its existence.

Duration. Enter the duration of the media here.(video) and sound only.


e to represent the proxy in the indow preview. If not specified, played.

er the image contains transpar-rmines this from the information must specify this manually. display without transparency or

Applies to still and moving

their information from the asso-ing you to only refresh media ification date than the one indi-

, ie, media items not used by

only. It does not remove the cor-r.

Icon. Allows you to choose a thumbnail imagMedia window, inside cues and in the Stage wa default icon with a question mark will be dis

Transparency. Allows you to specify whethency information. Normally. WATCHOUT detein the media file, but when using a proxy, youSetting this incorrectly may cause the image to not at all. Applies to still and moving images.

Dimension. Specifies the size of the image.images.

Refresh Refreshes items in the Media list by reloading ciated media files. A dialog is displayed allowthat has changed (ie, that has a different modcated in the Media window) or all media.

Purge Unused Removes unused items from the Media windowany cue along the timeline.

◆ NOTE: This cleans up the Media window responding media files from your compute

1

T ents of the Timeline window.

A layer. When reached during t as if you had stopped it

er to pause cues rather than easier to find and prevents

T

lending for images placed d by a black divider line

to appear unaffected by the d to align projectors to the

E

Mmti

uration of your presen- Extended automatically re cues are appended.

cle time is based on the f day tat which he show , not the timeline time it’s from.


imeline Menu The Timeline menu applies specifically to the cont

dd Pause Cue Adds a pause cue at the current time and selected playback, the pause cue will stop the timeline, jusmanually.

◆ HINT: When using pause cues, dedicate a laymixing them with other cues. This makes themthem from getting obscured by other cues.

imeline Settings Displays the Timeline Settings dialog box.

No Edge-blend Past Layer. Turns off edge bpast specified layer in the timeline. This is indicatebelow that layer in the timeline window.

This is useful in cases where you may want imagesedge blend gradient, such as a line-up image use

nter the desired time position.

akes the timeline restart auto-atically at the specified interval me.

Total dtation.as mo

The cytime ostartedstarted


alignment image, all the way to ly covers the display area.

video that fits entirely within the tend into the edge-blended ing this correctly (by playing the s may impair performance. ultaneously on adjacent display

yer, it won’t be masked by the play it on a single display

this display).

y the edge blend gradient of its pping projectors may be super-lly add a black box behind the but past the image causing the

screen. In this case, you want to see the entire its edges, to make sure that the image precise

Another use for this feature is when playing a confines of a single display, but which may exzones. While WATCHOUT is capable of handlvideo in all intersecting display computers) thiParticularly if you want to play other videos simareas.

By placing such a video past the edge blend laedge blend gradient, allowing WATCHOUT tocomputer only (assuming it fits entirely within

◆ NOTE: Although the image is unaffected bdisplay computer, images shown by overlaimposed on it. In this case, you must manuavideo, on a layer included in the edge blendproblem.

1

Chapter 11: Displays 133

all cubes and plasma screens. hnologies on page 16.

s properly, as described on

an impact on the creative er “Display Considerations” on

Add Display on the Stage menu. zes. The size of the display can ications dialog box (page 134).

ultiple displays. Alternatively, selection rectangle. Use “Select

de-select all displays, click

before you can select displays. ar. Displays can not be manipu- is active.

e mouse. Press the Shift key orizontal or vertical only. For e Display Specifications dialog

11 11 DISPLAYSDisplays include projectors, monitors, video wYou can read more about different display tec

You need to install and configure your displaypage 28 and 42.

The display technology chosen may also haveaspects of your presentation, as described undpage 52.

Adding Displays To add a display to the Stage window, choose You can choose any of the standard display sibe altered afterwards using the Display Specif

Selecting Displays Click a display to select it. Shift-click to select mdrag from a point outside all displays to use theAll” on the Edit menu to select all displays. Tooutside all displays in the Stage window.

◆ NOTE: You must activate the Stage windowTo activate the Stage window, click its title blated if “Lock Displays” on the Stage menu

Positioning Displays Drag a display to the desired position using thwhile dragging to constrain the movement to hbest precision, enter the exact position using thbox.

1

RD

ut” or “Clear” on the Edit ste the duplicate back into in mind that the duplicate age window as the original on and change its name and

DS

st select the display in the e Edit menu, or simply

n select displays. To activate not be manipulated if “Lock

tify pre-split movie files, as n page 76. Thus, if you use he name of the display after e the movies accordingly.

computer that manages this e display. However, if the of a Domain Name Server),

on the same sub-net, which dentical, and only the last n on page 34). In this case,

of the IP address in Prefer-

34 Chapter 11: Displays

emoving and Duplicating isplays

To remove a display, first select it, then choose “Cmenu. To duplicate it, first choose “Copy” then pathe Stage window. When pasting a display, keepinitially occupies the exact same location in the Stdid. You must move the duplicate to another locatiaddress before using it.

isplay pecifications

To open the Display Specifications dialog box, firStage window then choose “Specifications” on thdouble-click the display.

You must activate the Stage window before you cathe Stage window, click its title bar. Displays can Displays” on the Stage menu is active.

Name. Specifies the name of the display.

▼ IMPORTANT: This name is also used to idendescribed under “Pre-splitting Large Movies” osuch pre-split movies, you should not change tcreating those movies, or you’d have to renam

Address. Specifies the IP address of the displaydisplay. This is typically the numeric address of thdisplay computer is accessible by name (by meansyou may enter the name in this field instead.

◆ HINT: In most cases, all display computers aremeans that the first part of their IP address is igroup of digits differ (as shown in the illustratioit’s more convenient to enter the common part

Chapter 11: Displays 135

e 121), and then enter only the tins dialog box.

atus of the associated display rify the ability to connect to that l when trouble-shooting a

the color of the display’s outline r overlapping displays makes it

d dimension of the display. size. However, when using the it’s set up accordingly, causing y discrepancies. The allowable isplay and display card being

ences (see “Display Address Prefix” on paglast group of digits in the Display Specifica

Peer and Connect. Indicates the on-line stcomputer. You can use the Connect button to veparticular display computer. This can be usefusystem.

Color and Change. Allows you to change in the Status window. Using different colors foeasier to tell them apart.

Stage Position. Determines the position anWATCHOUT allows you to specify any displaysystem, each display computer will ensure thatan error message to be displayed in case of andimensions are ultimately determined by the dused.

1
36 Chapter 11: Displays

Chapter 12: Cues 137

ey control when media appear uch as positioning and opacity. he layers determine the back-to-

, drag a Media window item, w. Media files can be dragged

ll media used in a presentation r. Doing so allows WATCHOUT cification, making it easier to ferences intact.

, the cue will appear on the ine under the layer’s name) and to the timeline, the cue appears

iple cues. Alternatively, drag n rectangle. Use “Select All” on o de-select all cues, click in the w.

w image in the Stage window. ponds to a particular image on

12 12 CUESCues are the active objects of WATCHOUT. Thon stage, as well as more dynamic behavior sCues exist on layers in the Timeline window. Tfront stacking order of media on stage.

Adding Cues To add a cue to a layer in the Timeline windowor a media file, to the layer or the Stage windodirectly from your hard disk.

▼ IMPORTANT: Whenever possible, keep ain a sub-folder of the presentation file foldeto refer to the file using a relative path spemove the presentation with all its media re

When you drag media into the Stage windowcurrently selected layer (as indicated by a red lat the current time position. When dragging inat the layer and time you drag it to.

Selecting and Positioning Cues

Click a cue to select it. Shift-click to select multfrom a point outside all cues to use the selectiothe Edit menu to select all cues on all layers. Twhite space of any layer in the Timeline windo

You can also select a cue by clicking its previeThis allows you to determine which cue corresstage.

1

the mouse. To drag cues to , press the Shift key while

to the desired time position , then paste it. Alternatively, ” on page 140).

CC

e or copy cues within a oard. When transferring associated with those cues tion.

oard, select the cues then

CP

is to appear. To change the ge window while the cue is ltiple cues at the same time

k, the timeline must be posi- to change the position infor-r alter a position tween point

e Cue Specifications dialog

38 Chapter 12: Cues

To position selected cues, drag one of them usinganother layer without altering their time positionsdragging.

If you want to position a cue numerically, cut it, gousing the Timeline Settings dialog box (page 130)use the cue’s dialog box (see “Cue Specifications

utting, Pasting and Deleting ues

Use Cut, Copy and Paste on the Edit menu to movpresentation or to other presentations via the clipbcues to other presentations in this way, any mediawill automatically be added to the target presenta

To delete cues without altering the content of clipbchoose “Clear” on the Edit menu.

hanging a Cue’s Media osition On Stage

Cues contain information on where on stage mediastage position, drag the preview image in the Staselected. You can change the stage position of muby first selecting those cues.

▼ IMPORTANT: If a cue has a positioning tractioned at the starting time for that cue in ordermation in the cue itself. Otherwise, you’ll add oinstead.

Alternatively, change the stage position through thbox (see “Cue Specifications” on page 140).


at the end of the cue. Alterna-dialog box (see “Cue Specifica-

ving image beyond its natural last frame of the movie.

ag new media onto the cue. You , or a new media file from your

lose tween tracks that no longer ear if you replace a movie with

of a certain media file, you can e Media window instead, as de-on” on page 115. Doing so will tem.

Changing a Cue’s Duration To change the duration of a cue, drag the bartively, type the desired duration into the cue’s tions” on page 140)

◆ NOTE: If you extend the duration of a moduration, it will fill the remainder using the

Replacing a Cue’s Media To change the media associated with a cue, drcan drag either an item from the Media windowhard disk.

When replacing media in this way, the cue willapply (eg, any Volume tween track will disappa still image).

◆ HINT: If you want to replace all instances change the file association of the item in thscribed under “Changing the File Associatiaffect all cues associated with that media i

Drag to change cue’s duration.

1

C he cue and choose “Specifi-the cue.

In ocation of the top left corner top left corner of the Stage his is the static position of the en track, this is the initial k.

ion of a cue that has a posi-e in the Stage window or

l other positions will be offset ove at another stage position initial position of the dupli-

Tt

Tm

ion of this cue along e.

ssociated item in the ndow.

40 Chapter 12: Cues

ue Specifications To open a cue’s specifications dialog box, select tcations” on the Edit menu, or simply double-click

itial Media Position The values in this area determine the initial stage lof the media controlled by this cue, relative to thewindow. For cues without a position tween track, tmedia on stage. For cues that have a position tweposition, which is then modified by the tween trac

◆ HINT: When changing the initial media posittion tween track – either by dragging the imagthrough the Cue Specifications dialog box – alin the same way. This can be used to clone a mby first copying the cue and then changing thecate.

he time of this cue along the imeline.

he initial position of this cue’s edia on stage.

The duratthe timelin

Displays aMedia wi


ce of media on stage over time. ith the cue, you can add one or

s (see “Opacity” on page 99).

s (see “Position” on page 99).

ges with embedded audio (see

ils on how to use tween tracks.

Tween Tracks Tween tracks allow you to control the appearanDepending on the type of media associated wmore of the following tween track types:

• Opacity, applies to moving and still image

• Position, applies to moving and still image

• Volume, applies to audio and moving ima“Volume” on page 99).

See “Tween Tracks” on page 96 for more deta

Click the yellow triangle of a selected cue to add or remove applicable tween tracks.

1

T lue changes over time (see

sequent corner points, the oints.

ber bands attached to the ove the point.

ween Points” on page 98.

M oints, you can make the ong a Curved Path” on page by shifting the time position ty” on page 100).

AcAri

42 Chapter 12: Cues

ween Points Add points to a tween track to control how the va“Adding Points” on page 97).

There are two kinds of tween points:

• Blue corner points. When you use multiple subtweened value changes linearly between the p

• Red smooth points. These act like pins with rubcurve, bending the curve in the direction you m

For more information see “Corners and Smooth T

oving along a Path When using a position tween track with smooth pimage move along a curved path (see “Moving Al100). You can also control the velocity of the moveof such smooth points (see “Controlling the Veloci

dd a blue corner point by left-licking.dd a red, smooth tween point by ght-clicking.

dix A: Serial Protocol 143

TOCOLl device or control system, such ugh a serial port on the produc-external control system, the er laserdisc protocol, assuming

frame rate, regardless of the resentation as well as the “Base og box. This results in a control

ta bits, 1 stop bit and no parity. , terminated by a carriage

UT:

mands are designated by a two on page 145. Many commands des the command code in the ed by “nnn” in the table. If the quare brackets; eg, [nnn]. Only eros can be omitted.

Appen

A A. SERIAL PROYou can control WATCHOUT from an externaas Dataton TRAX®, using commands sent throtion computer. To simplify integration with an control protocol is based on the popular Pionea CAV, PAL disk (ie, 25 frames per second).

◆ NOTE: The protocol always uses a 25 fpsvideo material you may have used in the pFrame Rate” setting in the Preferences dialaccuracy of 0.04 seconds.

Command Format The protocol runs at 9600 bits per second, 8 daCommands are sent as ASCII character stringsreturn character (0x0D).

Example; start to play the timeline in WATCHO

PL<CR>

A string can contain multiple commands. Comcharacter command code, as listed in the table accept a numeric parameter which then precestring. Such a numeric parameter is representnumeric parameter is optional, it is shown in ssignificant digits need to be entered; leading z

1

play:

C r many commands is

er (0x0D).

rror response is returned

wn or Bad Command” and

Q formation. Queries send above mentioned command uery.

umber query, sent to second line (shown in italics)

44 Appendix A: Serial Protocol

Example; set frame 1234 as the stop marker then

1234SMPL<CR>

ommand Responses Successful completion of a string containing one oacknowledged by this response:

R<CR>

where <CR> represents a carriage return charact

If an error occurs in processing a command, an einstead:

Enn<CR>

where nn is the error code number; 04 is “Unkno06 is “Missing Parameter”.

ueries You can use queries to determine certain status inreplies back to the controlling device instead of theresponse. The format of the reply varies with the q

Example:

?F<CR>00125<CR>

In the above example, the first line is the Frame NWATCHOUT from the external controller, and the is the reply, indicating the current frame number.


s, with some commands es.

e 146).

pause.

mands.

l target frame (page 146).

target frame (page 146).

target frame.

t playback target frame.

current frame number.

Appen

List of Commands The table below shows the available commandexplained in more detail on the following pag

Code Name Description

[nnn]PL Play Play, with optional target frame number (pag

PA Pause Pause at the current position.

ST Still Pause at the current position.

SF Step Forward Step forward one frame and pause.

SR Step Reverse Step backward one frame and pause.

nnnSE Search to Frame Jump directly to specified frame number and

nnnSP Set Speed Set the multi-speed play speed (page 146).

nnnSM Stop Marker Set the target frame for subsequent play com

[nnn]MF Multi-speed Play Forward Play forward at variable speed, with optiona

[nnn]MR Multi-speed Play Reverse Play reverse at variable speed, with optional

nnnVD Video Display Command acknowledged but ignored.

CL Clear Clears the stop marker and current playback

RJ Reject Pauses and clears the stop marker and curren

?D Disc Status Query Replies with 10000<CR>.

?F Frame Number Query Replies with nnnnn<CR>, where nnnnn is the

?P Play Mode Query See “Play Mode Query” on page 147.

?X Model Name Query Replies with Dataton WATCHOUT x.x<CR>.

1

P se code is sent immediately. command, the response is Stop Marker command, the , and no additional response Stop Marker command.

S mmands (MF and MR, see 0”, where nnn is the param-

his command:

M ed Play Reverse commands, e speed set by the Set Speed

s you to play at other speeds be smooth when using the lated by causing the timeline

D ay be any character.

A ay be any character.

F ay be any character.

C


lay If the Play command is used on its own, the responIf using the optional target parameter of the Play sent when the target is reached. If preceded by theresponse to the Play command is sent immediatelyis sent upon reaching the target frame set by the

et Speed Sets the speed for subsequent multi-speed play cobelow). The speed is calculated as “speed = nnn/5eter to the Set Speed command.

Eg, to play forward at twice normal speed, give t

100SPMF<CR>

ulti-speed Play Using the Multi-speed Play Forward and Multi-speyou can play at other speeds than normal, using thcommand, as described above.

▼ IMPORTANT: Although this command allowthan normal, WATCHOUT playback will only normal playback speed. Other speeds are simuto jump repeatedly.

* Acknowledged but ignored, second character m



ode Name Description


by a <CR>:

d.

ormal speed.

Appen

Play Mode Query Returns one of the following replies, followed

Reply Description

P04 Currently playing at normal spee

P09 Currently playing at other than n

P06 Paused with no picture.

P05 Paused with picture displayed.

1

Index 149

25

124

ges 126

125

Index

Aacceleration 100Adobe

After Effects 71, 73, 80lllustrator 62Photoshop 64, 73Premiere 79

alpha channel 61, 72anti-aliasing 67audience 51audio see sound

Bbase framerate 121

Ccodec 74

commandadd display 125add pause cue 130add proxy 127background color 1clear 123copy 122cut 122find/replace 123find/replace again lock displays 125new 119online 126open 120outline dimmed imapaste 123preferences 121preview scale 125purge unused 129refresh 116, 129save 120select all 123serial control 143specifications 123timeline settings 130undo 122update 126wireframe preview

1

co

coCcu

DD

133

rences 121

50 Index

ntrol panelapple menu 40date and time 39energy saver 36general 39memory 35monitors 38

ntrol strip 40RT projector 17e 10, 90, 137

adding 113, 137cutting 138defined 137deleting 138duration 93, 139media position 138, 140pasting 138pause 95, 130positioning 137replacing media 92, 139selecting 137specifications 93, 140tween track 96, 141

HCP server 32

display 133adding 85, 111, 125, address 134address prefix, in prefearranging 85configuring 42considerations 52CRT 17drivers 23duplicating 134DVI 29installing 28LCD 19locking 125maintaining 47name 134online 126overlapping 53plasma 20positioning 133removing 134requirements 16selecting 133specifications 134stage position 135

Index 151

2

f 113

6

display computer 9configuring 33connecting to 103installing software 22requirements 16

distribution amplifier 28DLP projector 17DNS 31domain name server 31DV video format 74DVI connector 29

Eedge-blend 121

disabling for layers 130edit menu 122Ethernet 24extensions manager 41external control 107

Ffile menu 119file sharing 40files, removing unused 48Final Cut 79find and replace 123Flash, Macromedia 80framerate 121Freehand 65

Hhub 24

IiMovie 79IP address 32, 34

JJava 12jump button 113

Kkeystone correction 44

Llayer 92

changing height 11collapse 112current 112disabling preview oselecting 112

LCD display 19LCD projector 19license key 27

installing 22lllustrator 62looping presentation 10

1

MM

mm

Mm

rames 71

52 Index

acromediaDirector 80Flash 80Freehand 65

aintenance 47edia 10, 87

adding 87, 114changing file association 88, 115changing path to files 124downloading files 104dragging to stage 111editing file 88, 116locating file 115opening 116positioning 111, 138production 55proxy 89, 116, 127purging 88, 129refreshing 88, 116, 129removing 115window 114

edia Cleaner 71enu

edit 122file 119media 127stage 125timeline 130

message 117removing 117

movie see moving imagesmoving along a path 142moving images 57, 67

assembling individual faudio embedded in 82computer generated 70formats 67masking 57, 72optimizing playback 94performance 67pre-splitting 76quality, improving 69round 73

MPEG 74

Nnetwork 9

connecting 24requirements 16switch 26

Oonline 103opacity 61, 72, 99

Ppause cue 95, 130

Index 153

143

Photoshop 64, 73Pioneer, laserdisc protocol 143plasma display 20play 113position

animating 99editing 100moving along a path 100

preferences 121presentation

controlling 107environment 50, 52looping 106making new 119manual control of 105opening 120saving 120

pre-splitting large movies 76preview 125production computer 8

configuring 31requirements 15

production softwareinstalling 21obtaining 21

projection screen 30

projectoralignment 43, 45CRT 17DLP 17LCD 19maintaining 47

proxy 89, 116, 127

QQuickTime 12

file formats 60installing 21obtaining 21

Rremote control 105

Sserial control 107, 122,Sorenson codec 74sound

configuring 46file formats 81installing 30planning 58producing 81

speed of movement 100

1

st

ststst

stsu

TTCtetim

2

54 Index

ageadding displays 111adding media 111background color 125online 126outline dimmed images 126positioning displays 135positioning media preview 91, 111preview 125updating 105, 126wireframe preview 125

age menu 125age window 10, 85, 111ill image 55

formats 59producing 59

oryboard 55n icon, in layer header 113

P/IP network 13, 33xt, using in presentation 67e scale, adjusting 113

timeline 10, 90adding cues to 90, 113jump button 113jumping to time 113layer 92playing 113settings 130starting 113window 112

timeline menu 130transparency see opacitytriangle, in layer header 11tween point 97, 142

blue 98corner 98red 98removing 98smooth 98

tween track 10, 96, 141adding points to 97opacityposition 99stretching 99volume 99

UUSB port 27

Index 155

Vvelocity 100VGA connector 28video see moving imagesvirtual memory 35volume 99

WWATCHOUT

application areas 49desktop window 110installing 21obtaining 21screenshot 11system overview 8

windowmanipulating 110media 114message 117minimizing 110overview 109stage 111timeline 112

table of contentswatchout can be used with most display technologies, including crt, dlp and lcd...

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