# VYV Documentation ## Welcome!
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{% content-ref url="/spaces/-MYzHHptIwrfWPsTrniB" %} [TACHYON Documentation](https://docs.tachyon.video/) {% endcontent-ref %} {% content-ref url="/pages/PK1o6PKQYuh3GjgT9ypH" %} [What's New in V11](/whats-new-in-v11/whats-new-in-v11.5) {% endcontent-ref %} ## Get Started: {% content-ref url="/pages/KxS30QcwXX4XrZ3JSAwx" %} [Get To Know PHOTON](/get-to-know-photon/get-started-a-quick-start-guide) {% endcontent-ref %} {% content-ref url="/pages/jQL3W1a2PGL8k1JoFNzT" %} [Download Documentation - Version 1.2, Product version 9](/older-versions/download-documentation-version-1.2-product-version-9) {% endcontent-ref %} # What's New in V11.5? ## ST 2110 Photon now has a new implementation of SMPTE ST 2110 streaming protocols. ST 2110 is a set of standards that allows for the transmission of professional media over IP networks, facilitating greater efficiency and flexibility in broadcast environments. * Native support for SMPTE ST2110 uncompressed video (2110-20) input and output over IP using Deltacast IP Virtual Card API. * Supporting standard resolutions and frame-rates (up to 4K DCI 60Hz) , as well as RGB 8/10/12 bit, YUV 444 8/10/12 bits and YUV 422 8/10/12 bits. * Frame accurate synchronisation is supported using the PTP standard. * Stream redundancy (2022-7) support. * A maximum of 5 streams are currently supported (in or out) up to 4096x2160\@60Hz RGB-10 bits per stream. * ST2110 support requires a specific 2110 license and modern VYV hardware with dedicated dual 100Gb NICs. The software significantly reduces processing overhead, enabling smooth and sustained output bandwidth. This release marks a key step in advancing our IP broadcast capabilities, ensuring reliable and high-performance streaming for professional media applications. For more details, please refer to the accompanying documentation. ## RT-CALIB & SLAC ### Overall #### RT Calib integration into SLAC Workflow There is now a step {RT Calibration} between the {Calibration} and the {Reconstruction} steps in the Calibration Workflow window. #### RT Calib Cross Fade The cross-fade value is now independent of the calibration one. #### Copernic - Optitrack Tracker Exclusion By using the camera Priors ID exclusion at the Copernic detection stage, it eliminates all Copernics within the defined ranges. #### Improved feedback in the RT Calib User Interface * The camera information in the Calibration Tool Window is now shown in the RT Calib UI (Calibration error, pose error, fps, residual, and camera count). * Camera information is now always visible when paired with a projector. * Enable/disable RT Calib is now accessible in the contextual menu in the pairing view. #### RT-Calib Reset Pose Transformation There is now a button in the automation properties to reset the pose transformation for both the projector and the camera. ### SLAC * We have added a port control UI. * A SLAC port has been added in {Settings > Network}. * We have significantly increased the speed of the SLAC’s reconstruction. ### SLAC Workflow Simulation Mode New features and updates in the SLAC Workflow simulation mode: * Null Trackers are considered as decoded copernics in cameras. * It enables the visualization of visible trackers in camera views and simulates the calibration ground volume, including Rt Calib and Albion Tracking. * The Camera Prior represents the physical camera, and the calibration results are applied to the virtual camera. This enables us to observe calibration errors by measuring the distance between the prior and the virtual camera within the 3D scene. * The acquisition simulation is now done within the prior view. ## 3D Scene ### Overall * **Transformation Priors are now integrated into Primitives** * The transformation priors are now fully integrated into any primitive derived from virtual cameras (such as cameras, projectors, and depth sensors). There is no longer a need to create a separate primitive for prior reference. * A new toggle has been added under primitive properties for the transformation prior, allowing users to show or hide the associated prior in the 3D scene. A combo box enables users to select and move the prior independently of the primitive's transformation. * Buttons have been added to update the prior transformation to match the primitive transformation, which can be useful after performing a calibration. * A migration step has been implemented to preserve data from older projects, updating the transformation priors to align with the new workflow. * Decorative objects now appear black in texture rendering mode. * Semi-transparent objects no longer appear white in wireframe rendering mode. * We have resolved the issue where the 3D model does not appear after restarting Photon until it is re-synchronized. * We have fixed the issue where manual calibration does not highlight the selected item while searching. * **Particle System Primitive** * A toggle has been added in the Particle System primitive properties to switch to Graph V2. * Drop-down menus have been added to select a Graph V2 and an instance for rendering particles in the 3D scene. Some DXF files from Leica were not loading anymore, but this issue has now been resolved. ### Depth Sensors Depth Sensor Primitives now have a pyramid to better visualize their position and orientation without the need to show the gizmo. ### LED Mapper **Lock addresses editing + Edit icon** * DMX addresses are now locked and uneditable on the quad/screen. * An Edit icon has been added to clearly identify edited pixels. Edited addresses are preserved by default when changing quad configurations. ## Timeline ### Proxy Multiple Source Outputs Allow the "Proxy" clip to specify which output will be used from the source layer. This feature is useful when sourcing a Graph V2 clip that has multiple texture outputs. Timeline's control tab last state is now saved (i.e., Tools vs. Regions). We have added a shortcut to switch between Tools and Regions tabs in the Timeline Module: **\[D]** ### Preview Programming We have improved the Timeline Preview Programming by ensuring that exiting the preview no longer fast-forwards the controller's playhead, which had previously caused issues in multi-user environments. Additionally, we have fixed the synchronization issue that sent local time to the display for just a frame. ### Timeline Markers We have introduced a new marker clip type to enhance the workflow for show control and show navigation. Marker clips appear in beige in the Timeline and allow for external DMX transport control, enabling seamless integration of lighting and video cues for a single operator. When a DMX command is sent, the Timeline’s Playhead jumps to the corresponding marker clip, triggering video cues. Markers can have unique IDs linked to commands from the lighting desk or mimicking the stage manager list, ensuring efficient cueing. Users can also add notes to markers for valuable reference. * **Marker Clip Type**: A new Marker clip type has been introduced, which includes an ID, a Sub ID, and an Info field for better organization and reference. * **DMX Timeline Control**: We have implemented new DMX timeline control types: marker ID and Sub marker ID. This feature allows for jumping to a marker's time when triggered from DMX. In case of duplicate IDs, the marker that appears first in time will be triggered. * **Shortcuts** * \[M]: Add marker clip. * \[Shift+M]: Next marker. * \[Ctrl-Shift-M]: Previous marker. * **Default Marker Clip Time**: The default marker clip time has been set to 30 seconds in the settings. ### Clip-Specific Properties Multi-Selection * Multiple clips of the same type can be selected to edit specific properties for the following types: Media, Proxy, Input Device, Virtual Projector, and Cue. * A list has been added above the specific properties in multi-selection, making it easier to see the selection, select the current clip, and remove clips from the selection if necessary. ### New Editing Shortcuts **New Selection Shortcuts** * \[ CTRL+ALT+SHIFT+; ]: Select all clips under Playhead in all screens. * \[ CTRL+ALT+SHIFT+' ]: Select all media clips under Playhead in all screens. **Copy/Paste of Shared Clip Properties** * \[ CTRL+ALT+C ]: Copy shared clip properties of the current clip. * \[ CTRL+ALT+V ]: Paste all shared clip properties for the selected clips. The clip contextual menu allows you to paste only a section (Geometry, Blending, Transitions, etc.). ### Clip Distributor & Automatic Media Assignation to Screens **Create clips on multiple screens + Auto assign medias:** * A new tool to help create and distribute clips on multiple screens simultaneously with very few clicks. In the Timeline editor bar, select {Tools -> Create Clips on Multiple Screens} or click on the distributor icon in the new side Tools Panel of the Timeline. * A new input box has been added to the Screen Properties for entering a screen media pattern. This same input box is also available in the clip creator widget for creating media clips. When a media file name matches the specified pattern, it is automatically assigned to the corresponding clip on the screen. If multiple media items match the pattern, the first media is assigned to the first clip, the second media to the second clip, and so on. * A button has been added to the File Manager contextual menu for replacing selected media clips in the Timeline, using the screen pattern similarly. * A button has been added in the File Manager contextual menu to auto-create media clips. It pops the Clip Creator widget with media clips, and assigns all selected medias that match a screen media. * A toggle has been added to only create the clips on selected screens. Off by default, so all clips are created no matter the selection. ### Events Editor + New Playlist Clip Type Introducing the Events Editor, which can be accessed from the Show menu or by using the shortcut \[Alt+E]. This tool allows users to create and edit Scheduler playlists. A playlist consists of a sequence of events that will be executed one after another. Currently, there are two supported event types: cues and media (which can be images or videos). A new Timeline clip type using a Scheduler playlist. When the clip is activated, it will trigger the start of the playlist (with a free-run mode available). In the future, more triggering options will be added, such as specific times or DMX values. **Reorder Events** \- Added the possibility to reorder (drag-and-drop) selected lines in EGLUI table. **Multi-Selection + External Drop** \- Added the support of multi-selection in the Table. \- Allowed drops of converted media from the File Manager and cues from the Cue Editor to create events more easily. **Various improvements and fixes** have been made to the Timeline, including resolving issues with item selection, DMX control, and stacking of duplicated clips. Offline layer render toggles have been removed for better management. Additionally, multi-user color correction issues have been addressed, ensuring Looks are applied correctly across multiple servers. ## File Manager #### YA16 Conversion Fix * Fixed an alignment issue that was offsetting pixels in YA16 GPU conversion. The alignment issue was proportional to the ratio (width/height) of the content, hence more visible on very wide ratio content. #### LUTs Support * Better support of LUTs coming from Da Vinci Resolve. #### Optimized performance of the File Manager * New efficiency optimization of EGLUI & File Manager, and Photon startup time when the File Manager contains a lot of media. * Transfers and conversions have been sped up and are now more stable. File Sequences' speed transfer has also been vastly improved. ## Graph V2 ### New Nodes * Depth Sensor Node * Signal Generator Node * The Node supports sine, cosine, triangle, and square signals, with a rescale value. * New DMX 3D Mapping Node * The Node sends DMX control values based on the fixture information linked to the moving lights. * It supports moving light fixture control types: * color. * pan-tilt. * intensity. * zoom controls. * There are two rendering modes: * Position: Projects the moving light position in the input camera space and assigns the corresponding input texture color to the selected control type. * Target: Renders the input objects in the moving light viewpoint and assigns the target color to the selected control type. * Audio Analysis Node * Network Host Node * Delta Time Node * It returns the number of seconds since the last graph evaluation. Useful for making framerate-independent animations through the graph. * Blob Kalman Filter Node * UDP Client/Server Nodes * Slots and Nodes to manage binary data * Implementation of the Video Node from the Graph V1 into the Graph V2 * Control Node: new node to fetch information under Settings->Control ### Usability Features from V1 Ported to V2 #### Advanced Search Can now list and search all nodes in the current graph. #### Legend Lists all the slot colors and types. #### Align + Move selected Nodes shortcuts * \[L] to align the selection. * \[Up/Down/Left/Right] to move the selection. #### Profiling * Added profilers to the Nodes. * Added a toggle to visualize the data flow, while using the profiling toggle to activate the graph profiling in the same fashion as with the Graph V1. #### Nodes can now be selected by clicking on their content instead of just their header. #### Shortcuts + Drag & Drop to create a clip * Added the ability to drag-and-drop a Graph V2 onto a layer to create a clip. * Added support for the \[X] shortcut to find and select a graph from the timeline. It also selects the graph instance used in the clip. * Added shortcut {W} to create a Graph V2 clip. ### Improvement & New Features #### Graph Nodes, also known as metaNodes, are now depicted with a contour. Double-clicking on the contour will open the graph. #### Exposed slots now feature an icon instead of a dashed circle. #### Snap to Source Added support for "Snap to Source". #### Implementation of Pass-Through Disabling the Node without cutting data flow. #### When you duplicate Nodes, the input connections will be maintained #### Network Nodes now include a localhost selection option The Network Nodes (monitor and host name) input combo box now provides the localhost option alongside all server names. #### Value to List Converters When a slot requires a list of values but the input is a single value, a converter will be added to create a single-element list containing that value. #### The list slots now display the text values of their elements in tooltips #### Add minimum and maximum slider values for Effects Nodes #### Copying variable Nodes will now also create their associated variables when pasted into a new Graph #### The default minimum and maximum values for the Graph V2 slider are now set to 0 and 1 #### Get Primitive Property now supports Input Device & Depth Sensor Device #### Mapper Node is now split into two nodes: Get/Set #### New 'Localhost' option in the Network Host Node & Network Monitor Node #### Added Graph V2 particle Voxel support (Voxelizer Node => Particle Cuda Texture => Particle Texture Locator) #### blob ID offset parameter for the Voxelizer, Blob Tracking FX, and Particle Renderer. This allows the starting blob ID for virtually generated blobs to be set to a value other than zero, preventing conflicts with Copernics and/or other instances of Nodes/FXs. ## FX ### New FXs #### Scope FX We have added an FX that displays a vector-scope rendering of the input texture. Three modes are available: * waveform. * RGB waveform. * RGB parade. The samples parameter can be used to adjust the brightness of the scope. #### Low Mid High FX We have added an FX that allows adjustment of low, mid, and high intensities (not per color as currently in the CC module). ### Improvements The Fluid FX has been improved with several fixes, including addressing over-saturation in the 10-bit pipeline, ensuring timestep-independent simulations perform consistently at 60 fps, and reducing framerate dependence for better overall performance. We have fixed the Time Code FX feature in the FX Stack. We have deprecated some effects: * Removed Noise Gradient FX; you should use Noise 3D FX. * Removed Vector Flow FX; you should use Particle System. * Removed Seascape FX; you should use Ocean FX. Removed Noise Gradient requirement from Liquid Paint (now requires a second input as noise). ## I/O ### Input Devices * Fixed feedback loop when using Test Card. * Updated NDI to version 6.0.1. * A warning is now displayed when an NDI sender uses an unsupported format. ### DMX #### SACN can now use unicast and multicast simultaneously Unicast can now be enabled for specific universes; others will use multicast. #### New DMX controls in the Timeline DMX Fixture Controls * Sequence Tab selection. * Enable/Disable Timecode. ### OSC * We have resolved the crash due to the OSC Client receiving a malformed packet. ### Light Sensors * We have disabled Yocto light sensors support; this feature is now deprecated. ### Depth Sensors * Depth Sensor Float Data Type: We have changed the internal data type, which reduces by three times the amount of data transmitted on the network. * We disabled RealSense support because their depth sensors have been discontinued. * We have implemented various optimizations related to lidars. ### Albion * Albion Virtual IDs now have a Vertical (Y) Offset. ## Settings ### Display Ident New UI and Features #### New interface for Display Ident in the Settings module * New option to select the outputs that will display the Ident. * Contrast control per output. * Ident color is now calculated using outputs instead of primitives. The colors are no longer affected by linked primitives. * Ident works with output with no linked displays. ## UI & Shortcuts New shortcut to quit without saving: {Ctrl+Alt+Shift+Q} Natural sorting (e.g., 1, 2, 10, 20, 100, ...) is now used in various lists of our software (file names, host names, device names, etc.). The original lexical sorting order (e.g., 1, 10, 2, 20, 100, ...) can be reverted using an Advanced Option. The Log Manager now includes a scrollbar for the list of machines on the left side. ## Profiler Color thresholds: * We have added two sliders to control the color interpolation thresholds of the profiler—specifically, the mid-point and maximum values (from yellow to red), measured in milliseconds. These adjustments can be found under {Settings > General > Profiler}. This enhancement will help users to more easily identify bottlenecks in their project setups. The thresholds apply to both Profilers V1 and V2, as well as Graphs V1 and V2. We have made Profiler V2 indentation smaller to better see the labels. ## Performance improvements We have introduced the ability to disable the "FPS" and "Network Monitor" logs from being sent to the console. This adjustment addresses issues causing stuttering in high framerate scenarios. A new option in the advanced menu allows users to disable these console outputs. ## Tachyon Tachyon's Calibration UI has undergone several improvements. An issue was fixed where some widgets would disappear when the tab was unpinned and the layout was altered, as not all widgets were present. Additionally, the calculation for 3D viewport size has been corrected to account for the size offset of the calibration tools. We have implemented the Marker Clip Feature. Lastly, a problem was resolved where object transformations were not applied to calibration points in the reference object window. ## VNA * We have fixed an issue with installer dependencies, which would not install correctly. * We have added the natural sort order to various lists. * It should be noted that Windows 11 changed the way consoles are handled. As a result, the minimized console window is always shown in the TaskBar. ## Advanced Menu Advanced Settings options are now categorized to allow for a more compact layout. # What's New in XENON V11.5? ## ST 2110 Xenon now has a new implementation of SMPTE ST 2110 streaming protocols. ST 2110 is a set of standards that allows for the transmission of professional media over IP networks, facilitating greater efficiency and flexibility in broadcast environments. * Native support for SMPTE ST2110 uncompressed video (2110-20) input and output over IP using Deltacast IP Virtual Card API. * Supporting standard resolutions and frame-rates (up to 4K DCI 60Hz) , as well as RGB 8/10/12 bit, YUV 444 8/10/12 bits and YUV 422 8/10/12 bits. * Frame accurate synchronisation is supported using the PTP standard. * Stream redundancy (2022-7) support. * A maximum of 5 streams are currently supported (in or out) up to 4096x2160\@60Hz RGB-10 bits per stream. * ST2110 support requires a specific 2110 license and modern VYV hardware with dedicated dual 100Gb NICs. The software significantly reduces processing overhead, enabling smooth and sustained output bandwidth. This release marks a key step in advancing our IP broadcast capabilities, ensuring reliable and high-performance streaming for professional media applications. For more details, please refer to the accompanying documentation. ## RT-CALIB & SLAC #### RT Calib integration into SLAC Workflow There is now a step {RT Calibration} between the {Calibration} and the {Reconstruction} steps in the Calibration Workflow window. #### RT Calib Cross Fade The cross-fade value is now independent of the calibration one. #### Copernic - Optitrack Tracker Exclusion By using the camera Priors ID exclusion at the Copernic detection stage, it eliminates all Copernics within the defined ranges. #### Improved feedback in the RT Calib User Interface * The camera information in the Calibration Tool Window is now shown in the RT Calib UI (Calibration error, pose error, fps, residual, and camera count). * Camera information is now always visible when paired with a projector. * Enable/disable RT Calib is now accessible in the contextual menu in the pairing view. #### RT-Calib Reset Pose Transformation There is now a button in the automation properties to reset the pose transformation for both the projector and the camera. ### SLAC * We have added a port control UI. * A SLAC port has been added in {Settings > Network}. * We have significantly increased the speed of the SLAC’s reconstruction. ### SLAC Workflow Simulation Mode New features and updates in the SLAC Workflow simulation mode: * Null Trackers are considered as decoded copernics in cameras. * It enables the visualization of visible trackers in camera views and simulates the calibration ground volume, including Rt Calib and Albion Tracking. * The Camera Prior represents the physical camera, and the calibration results are applied to the virtual camera. This enables us to observe calibration errors by measuring the distance between the prior and the virtual camera within the 3D scene. * The acquisition simulation is now done within the prior view. ## 3D Scene * Transformation Priors are now integrated into Primitives * The transformation priors are now fully integrated into any primitive derived from virtual cameras (such as cameras, projectors, and depth sensors). There is no longer a need to create a separate primitive for prior reference. * A new toggle has been added under primitive properties for the transformation prior, allowing users to show or hide the associated prior in the 3D scene. A combo box enables users to select and move the prior independently of the primitive's transformation. * Buttons have been added to update the prior transformation to match the primitive transformation, which can be useful after performing a calibration. * A migration step has been implemented to preserve data from older projects, updating the transformation priors to align with the new workflow. * Decorative objects now appear black in texture rendering mode. * Semi-transparent objects no longer appear white in wireframe rendering mode. * We have resolved the issue where the 3D model does not appear after restarting Xenon until it is re-synchronized. * We have fixed the issue where manual calibration does not highlight the selected item while searching. * Particle System Primitive * A toggle has been added in the Particle System primitive properties to switch to Graph V2. * Drop-down menus have been added to select a Graph V2 and an instance for rendering particles in the 3D scene. Some DXF files from Leica were not loading anymore, but this issue has now been resolved. ### Depth Sensors Depth Sensor Primitives now have a pyramid to better visualize their position and orientation without the need to show the gizmo. ### LED Mapper Lock addresses editing + Edit icon * DMX addresses are now locked and uneditable on the quad/screen. * An Edit icon has been added to clearly identify edited pixels. Edited addresses are preserved by default when changing quad configurations. ## Timeline ### Proxy Multiple Source Outputs Allow the "Proxy" clip to specify which output will be used from the source layer. This feature is useful when sourcing a Graph V2 clip that has multiple texture outputs. Timeline's control tab last state is now saved (i.e., Tools vs. Regions). We have added a shortcut to switch between Tools and Regions tabs in the Timeline Module: \[D] ### Preview Programming We have improved the Timeline Preview Programming by ensuring that exiting the preview no longer fast-forwards the controller's playhead, which had previously caused issues in multi-user environments. Additionally, we have fixed the synchronization issue that sent local time to the display for just a frame. ### Timeline Markers We have introduced a new marker clip type to enhance the workflow for show control and show navigation. Marker clips appear in beige in the Timeline and allow for external DMX transport control, enabling seamless integration of lighting and video cues for a single operator. When a DMX command is sent, the Timeline’s Playhead jumps to the corresponding marker clip, triggering video cues. Markers can have unique IDs linked to commands from the lighting desk or mimicking the stage manager list, ensuring efficient cueing. Users can also add notes to markers for valuable reference. * Marker Clip Type: A new Marker clip type has been introduced, which includes an ID, a Sub ID, and an Info field for better organization and reference. * DMX Timeline Control: We have implemented new DMX timeline control types: marker ID and Sub marker ID. This feature allows for jumping to a marker's time when triggered from DMX. In case of duplicate IDs, the marker that appears first in time will be triggered. * Shortcuts * \[M]: Add marker clip. * \[Shift+M]: Next marker. * \[Ctrl-Shift-M]: Previous marker. * Default Marker Clip Time: The default marker clip time has been set to 30 seconds in the settings. ### Clip-Specific Properties Multi-Selection * Multiple clips of the same type can be selected to edit specific properties for the following types: Media, Proxy, Input Device, Virtual Projector, and Cue. * A list has been added above the specific properties in multi-selection, making it easier to see the selection, select the current clip, and remove clips from the selection if necessary. ### New Editing Shortcuts New Selection Shortcuts * \[ CTRL+ALT+SHIFT+; ]: Select all clips under Playhead in all screens. * \[ CTRL+ALT+SHIFT+' ]: Select all media clips under Playhead in all screens. Copy/Paste of Shared Clip Properties * \[ CTRL+ALT+C ]: Copy shared clip properties of the current clip. * \[ CTRL+ALT+V ]: Paste all shared clip properties for the selected clips. The clip contextual menu allows you to paste only a section (Geometry, Blending, Transitions, etc.). ### Clip Distributor & Automatic Media Assignation to Screens #### Create clips on multiple screens + Auto assign medias * A new tool to help create and distribute clips on multiple screens simultaneously with very few clicks. In the Timeline editor bar, select {Tools -> Create Clips on Multiple Screens} or click on the distributor icon in the new side Tools Panel of the Timeline. * A new input box has been added to the Screen Properties for entering a screen media pattern. This same input box is also available in the clip creator widget for creating media clips. When a media file name matches the specified pattern, it is automatically assigned to the corresponding clip on the screen. If multiple media items match the pattern, the first media is assigned to the first clip, the second media to the second clip, and so on. * A button has been added to the File Manager contextual menu for replacing selected media clips in the Timeline, using the screen pattern similarly. * A button has been added in the File Manager contextual menu to auto-create media clips. It pops the Clip Creator widget with media clips, and assigns all selected medias that match a screen media. * A toggle has been added to only create the clips on selected screens. Off by default, so all clips are created no matter the selection. ### Events Editor + New Playlist Clip Type Introducing the Events Editor, which can be accessed from the Show menu or by using the shortcut \[Alt+E]. This tool allows users to create and edit Scheduler playlists. A playlist consists of a sequence of events that will be executed one after another. Currently, there are two supported event types: cues and media (which can be images or videos). A new Timeline clip type using a Scheduler playlist. When the clip is activated, it will trigger the start of the playlist (with a free-run mode available). In the future, more triggering options will be added, such as specific times or DMX values. #### Reorder Events \- Added the possibility to reorder (drag-and-drop) selected lines in EGLUI table. #### Multi-Selection + External Drop \- Added the support of multi-selection in the Table. \- Allowed drops of converted media from the File Manager and cues from the Cue Editor to create events more easily. #### Various improvements and fixes... ...have been made to the Timeline, including resolving issues with item selection, DMX control, and stacking of duplicated clips. Offline layer render toggles have been removed for better management. Additionally, multi-user color correction issues have been addressed, ensuring Looks are applied correctly across multiple servers. ## File Manager YA16 Conversion Fix * Fixed an alignment issue that was offsetting pixels in YA16 GPU conversion. The alignment issue was proportional to the ratio (width/height) of the content, hence more visible on very wide ratio content. LUTs Support * Better support of LUTs coming from Da Vinci Resolve. Optimized performance of the File Manager * New efficiency optimization of EGLUI & File Manager, and Xenon startup time when the File Manager contains a lot of media. * Transfers and conversions have been sped up and are now more stable. File Sequences' speed transfer has also been vastly improved. ## I/O ### Input Devices * Fixed feedback loop when using Test Card. * Updated NDI to version 6.0.1. * A warning is now displayed when an NDI sender uses an unsupported format. ### DMX #### SACN can now use unicast and multicast simultaneously Unicast can now be enabled for specific universes; others will use multicast. #### New DMX controls in the Timeline DMX Fixture Controls * Sequence Tab selection. * Enable/Disable Timecode. ### OSC * We have resolved the crash due to the OSC Client receiving a malformed packet. ### Light Sensors * We have disabled Yocto light sensors support; this feature is now deprecated. ### Depth Sensors * Depth Sensor Float Data Type: We have changed the internal data type, which reduces by three times the amount of data transmitted on the network. * We disabled RealSense support because their depth sensors have been discontinued. * We have implemented various optimizations related to lidars. ### Albion * Albion Virtual IDs now have a Vertical (Y) Offset. ## Settings ### Display Ident New UI and Features New interface for Display Ident in the Settings module * New option to select the outputs that will display the Ident. * Contrast control per output. * Ident color is now calculated using outputs instead of primitives. The colors are no longer affected by linked primitives. * Ident works with output with no linked displays. ## UI & Shortcuts New shortcut to quit without saving: {Ctrl+Alt+Shift+Q} Natural sorting (e.g., 1, 2, 10, 20, 100, ...) is now used in various lists of our software (file names, host names, device names, etc.). The original lexical sorting order (e.g., 1, 10, 2, 20, 100, ...) can be reverted using an Advanced Option. The Log Manager now includes a scrollbar for the list of machines on the left side. ## Profiler Color thresholds: * We have added two sliders to control the color interpolation thresholds of the profiler—specifically, the mid-point and maximum values (from yellow to red), measured in milliseconds. These adjustments can be found under {Settings > General > Profiler}. This enhancement will help users to more easily identify bottlenecks in their project setups. The thresholds apply to both Profilers V1 and V2, as well as Graphs V1 and V2. We have made Profiler V2 indentation smaller to better see the labels. ## Performance improvements We have introduced the ability to disable the "FPS" and "Network Monitor" logs from being sent to the console. This adjustment addresses issues causing stuttering in high framerate scenarios. A new option in the advanced menu allows users to disable these console outputs. ## Tachyon Tachyon's Calibration UI has undergone several improvements. An issue was fixed where some widgets would disappear when the tab was unpinned and the layout was altered, as not all widgets were present. Additionally, the calculation for 3D viewport size has been corrected to account for the size offset of the calibration tools. We have implemented the Marker Clip Feature. Lastly, a problem was resolved where object transformations were not applied to calibration points in the reference object window. ## VNA * We have fixed an issue with installer dependencies, which would not install correctly. * We have added the natural sort order to various lists. * It should be noted that Windows 11 changed the way consoles are handled. As a result, the minimized console window is always shown in the TaskBar. ## Advanced Menu Advanced Settings options are now categorized to allow for a more compact layout. # What's New in TACHYON V11.5? ## 3D Scene * Decorative objects now appear black in texture rendering mode. * Semi-transparent objects no longer appear white in wireframe rendering mode. * We have resolved the issue where the 3D model does not appear after restarting Tachyon until it is re-synchronized. * We have fixed the issue where manual calibration does not highlight the selected item while searching. ### LED Mapper Lock addresses editing + Edit icon * DMX addresses are now locked and uneditable on the quad/screen. * An Edit icon has been added to clearly identify edited pixels. Edited addresses are preserved by default when changing quad configurations. ## Timeline Timeline's control tab last state is now saved (i.e., Tools vs. Regions). We have added a shortcut to switch between Tools and Regions tabs in the Timeline Module: \[D] ### Preview Programming We have improved the Timeline Preview Programming by ensuring that exiting the preview no longer fast-forwards the controller's playhead, which had previously caused issues in multi-user environments. Additionally, we have fixed the synchronization issue that sent local time to the display for just a frame. ### Timeline Markers We have introduced a new marker clip type to enhance the workflow for show control and show navigation. Marker clips appear in beige in the Timeline and allow for external DMX transport control, enabling seamless integration of lighting and video cues for a single operator. When a DMX command is sent, the Timeline’s Playhead jumps to the corresponding marker clip, triggering video cues. Markers can have unique IDs linked to commands from the lighting desk or mimicking the stage manager list, ensuring efficient cueing. Users can also add notes to markers for valuable reference. * Marker Clip Type: A new Marker clip type has been introduced, which includes an ID, a Sub ID, and an Info field for better organization and reference. * DMX Timeline Control: We have implemented new DMX timeline control types: marker ID and Sub marker ID. This feature allows for jumping to a marker's time when triggered from DMX. In case of duplicate IDs, the marker that appears first in time will be triggered. * Shortcuts * \[M]: Add marker clip. * \[Shift+M]: Next marker. * \[Ctrl-Shift-M]: Previous marker. * Default Marker Clip Time: The default marker clip time has been set to 30 seconds in the settings. ### Clip-Specific Properties Multi-Selection * Multiple clips of the same type can be selected to edit specific properties for the following types: Media, Proxy, Input Device, Virtual Projector, and Cue. * A list has been added above the specific properties in multi-selection, making it easier to see the selection, select the current clip, and remove clips from the selection if necessary. ### New Editing Shortcuts New Selection Shortcuts * \[ CTRL+ALT+SHIFT+; ]: Select all clips under Playhead in all screens. * \[ CTRL+ALT+SHIFT+' ]: Select all media clips under Playhead in all screens. Copy/Paste of Shared Clip Properties * \[ CTRL+ALT+C ]: Copy shared clip properties of the current clip. * \[ CTRL+ALT+V ]: Paste all shared clip properties for the selected clips. The clip contextual menu allows you to paste only a section (Geometry, Blending, Transitions, etc.). ### Clip Distributor & Automatic Media Assignation to Screens #### Create clips on multiple screens + Auto assign medias * A new tool to help create and distribute clips on multiple screens simultaneously with very few clicks. In the Timeline editor bar, select {Tools -> Create Clips on Multiple Screens} or click on the distributor icon in the new side Tools Panel of the Timeline. * A new input box has been added to the Screen Properties for entering a screen media pattern. This same input box is also available in the clip creator widget for creating media clips. When a media file name matches the specified pattern, it is automatically assigned to the corresponding clip on the screen. If multiple media items match the pattern, the first media is assigned to the first clip, the second media to the second clip, and so on. * A button has been added to the File Manager contextual menu for replacing selected media clips in the Timeline, using the screen pattern similarly. * A button has been added in the File Manager contextual menu to auto-create media clips. It pops the Clip Creator widget with media clips, and assigns all selected medias that match a screen media. * A toggle has been added to only create the clips on selected screens. Off by default, so all clips are created no matter the selection. ### Events Editor + New Playlist Clip Type Introducing the Events Editor, which can be accessed from the Show menu or by using the shortcut \[Alt+E]. This tool allows users to create and edit Scheduler playlists. A playlist consists of a sequence of events that will be executed one after another. Currently, there are two supported event types: cues and media (which can be images or videos). A new Timeline clip type using a Scheduler playlist. When the clip is activated, it will trigger the start of the playlist (with a free-run mode available). In the future, more triggering options will be added, such as specific times or DMX values. #### Reorder Events \- Added the possibility to reorder (drag-and-drop) selected lines in EGLUI table. #### Multi-Selection + External Drop \- Added the support of multi-selection in the Table. \- Allowed drops of converted media from the File Manager and cues from the Cue Editor to create events more easily. #### Various improvements and fixes... ... have been made to the Timeline, including resolving issues with item selection, DMX control, and stacking of duplicated clips. Offline layer render toggles have been removed for better management. Additionally, multi-user color correction issues have been addressed, ensuring Looks are applied correctly across multiple servers. ## File Manager Optimized performance of the File Manager * New efficiency optimization of EGLUI & File Manager, and Tachyon startup time when the File Manager contains a lot of media. * Transfers and conversions have been sped up and are now more stable. File Sequences' speed transfer has also been vastly improved. ## I/O ### Input Devices * Fixed feedback loop when using Test Card. * Updated NDI to version 6.0.1. * A warning is now displayed when an NDI sender uses an unsupported format. ### DMX #### SACN can now use unicast and multicast simultaneously Unicast can now be enabled for specific universes; others will use multicast. #### New DMX controls in the Timeline DMX Fixture Controls * Sequence Tab selection. * Enable/Disable Timecode. ### OSC * We have resolved the crash due to the OSC Client receiving a malformed packet. ## Settings ### Display Ident New UI and Features #### New interface for Display Ident in the Settings module * New option to select the outputs that will display the Ident. * Contrast control per output. * Ident color is now calculated using outputs instead of primitives. The colors are no longer affected by linked primitives. * Ident works with output with no linked displays. ## UI & Shortcuts New shortcut to quit without saving: {Ctrl+Alt+Shift+Q} Natural sorting (e.g., 1, 2, 10, 20, 100, ...) is now used in various lists of our software (file names, host names, device names, etc.). The original lexical sorting order (e.g., 1, 10, 2, 20, 100, ...) can be reverted using an Advanced Option. The Log Manager now includes a scrollbar for the list of machines on the left side. ## Profiler Color thresholds: * We have added two sliders to control the color interpolation thresholds of the profiler—specifically, the mid-point and maximum values (from yellow to red), measured in milliseconds. These adjustments can be found under {Settings > General > Profiler}. This enhancement will help users to more easily identify bottlenecks in their project setups. The thresholds apply to both Profilers V1 and V2, as well as Graphs V1 and V2. We have made Profiler V2 indentation smaller to better see the labels. ## Performance improvements We have introduced the ability to disable the "FPS" and "Network Monitor" logs from being sent to the console. This adjustment addresses issues causing stuttering in high framerate scenarios. A new option in the advanced menu allows users to disable these console outputs. ## Tachyon Tachyon's Calibration UI has undergone several improvements. An issue was fixed where some widgets would disappear when the tab was unpinned and the layout was altered, as not all widgets were present. Additionally, the calculation for 3D viewport size has been corrected to account for the size offset of the calibration tools. We have implemented the Marker Clip Feature. Lastly, a problem was resolved where object transformations were not applied to calibration points in the reference object window. ## VNA * We have fixed an issue with installer dependencies, which would not install correctly. * We have added the natural sort order to various lists. * It should be noted that Windows 11 changed the way consoles are handled. As a result, the minimized console window is always shown in the TaskBar. ## Advanced Menu Advanced Settings options are now categorized to allow for a more compact layout. # What's New in V11.3? ## Timeline ### The Timeline Module is now Multi-user! When editing and creating media and effects on the timeline, this collaborative environment enables multiple users to work together on a project timeline. The system allows real-time collaboration, efficient task management, and seamless integration of various elements into the final visual production. #### Real-time collaboration Several users can work simultaneously on different aspects of the project, such as editing sequences, applying effects, adjusting animations, grading, and more. Changes made by one user are immediately visible to others, ensuring synchronization and reducing the chances of conflicts. #### Speeding up the process In large productions, Photon is capable of handling a massive amount of media and numerous requests from the creative team. Having multiple users who can interact with different parts of the timeline greatly increases the speed of creation. In summary, the multi-user timeline is essential for managing complex visual projects. It enables efficient collaboration and ensures high-quality outputs by coordinating efforts among multiple users. ### Preview Programming Playhead Mode The playhead controllers are now fully detachable from the timeline during the show, allowing real-time editing of any part of the timeline while the show is running. The playhead turns green and allows you to edit any part of the timeline without interrupting what is being displayed on the screens. When you are finished, disable the preview programming, and you will return to the exact point of the show without any push action, refresh or synchronize to apply ### Playhead follow modes When programming or operating a show, you now have the ability to decide whether the timeline view constantly reframes the playhead or if you can freely roam to other places on the timeline while the show is running. ### Looping Regions & Regions redesign We have introduced new tools in the region tab: looping! These tools will help you solve tricky situations while programming complex shows. You can now loop a section of the timeline either indefinitely or a set number of times before exiting. After creating a region in 11.3, you’ll notice the Möbius strip toggle in front of the region label. When activated, the region will loop indefinitely when entered by the playhead. The region text will change color to orange and two triangles will appear on each side. Looping Options will allow you to loop the region a certain number of times before exiting. Auto Break will deactivate the loop mode upon the playhead exit. If not turned on, the looping settings will reset. Additionally, we have redesigned and placed the region in a tab to free up space and give the user the ability to unpin it and place it where they want. ## 3D Scene ### Calibration Tab redesign We have reorganized the calibration tabs, separating manual calibration, SLAC, and LED into three different tabs. The Calibration window now takes the entire length of the 3D Scene. ### New LED tools We've completely redesigned the LED mapping tools. Both views are now visible at the same time, and quadding and manipulations have been greatly improved! ### LED DMX mapping fully integrated into the 3D Scene We now support LED DMX mapping in the 3D Scene, with a complete set of tools to efficiently map LED strips and LED lights over DMX. ## SLAC ### New workflow One of the key features of this new release is the new workflow for the automatic alignment of cameras and projectors. It comes packed with a host of brand-new settings and features that are set to revolutionize the way we interact with Photon and Xenon. This exciting development is set to transform how we approach calibration and promises to deliver unparalleled accuracy and efficiency. With this advanced auto-alignment workflow, users can enjoy a more intuitive and streamlined experience that will take their work to the next level. ### NVZ SLAC Invisible Calibration: it is now possible to perform an acquisition during rehearsals or preshows in invisible mode, during more challenging lit scenarios like work light or even daylight! ## VNA ### EDID Management You can now remotely load and unload EDID on all connected servers directly via the network assistant. ### Mosaics creation You can now remotely create and manage your mosaics on all connected servers directly via the network assistant. ## UI Added the ability to recursively expand/collapse lists by holding the Ctrl key and clicking the red triangle. ## Introducing Graph V2 We have completely redesigned the graph from the ground up, with logic and graphic nodal programming in mind, while retaining all the capabilities of Graph V1. V2 opens up many new possibilities in terms of gamification and complex logic creation for your shows and events. Furthermore, you can now nest graphs into other ones, allowing abstraction of complex logic into reusable and versatile nodes. This will help you solve intricate challenges with more ease. This is still a work in progress, and we will continue to support V1 until V2 is completed. ## I/O ### Mappings #### New Joystick mapping mode + Edge button mapping We added a new "Joystick" mapping mode that increments or decrements a slider value. We managed to ensure that events are sent every frame, even if the joystick is not moving until it returns to its neutral position to create smoother mapping. We made the joystick mapping frame-independent and added a speed parameter in the mapping manager for better control. We also considered raw panel button edges (2- and 4-way buttons) in the mapping manager. ### New Raw Panel support We are now natively supporting SKAARHOJ Raw Panel devices. For more info, please check: ### Depth Sensor Various Depth Sensor improvements We have revamped overall performance, especially when multiple Depth Sensors are in use, and have fixed a few corner cases when processing Depth Sensor data in the Voxelizer graph node. ### Albion #### MA3 Compatibility We now support the import of grandMA3 fixtures for automated follow-spot tracking. # What's New in V11.1? ## SLAC (Structured Light Automatic Calibration) * **Introducing NVZ SLAC (imperceptible automatic alignment)** * Based on years of internal RnD, now allows to automatically align large quantities of projectors without disturbing your audience by projecting subtle patterns that can be imperceptible to most people's eyes. * Continuous alignment mode allows to run NVZ SLAC continuously and improve projection alignment over time while your show is running. * **Improved GFS (super High speed mode)** * Now working seamlessly with large quantities of cameras/projectors. * Entirely optimized on GPU for smooth and quick experience. * Calibrate large projection installations in less than 2 seconds per projector. * **SLAC improvements** * Camera resolution for multiview is now fetched directly from the camera. * MJPEG mode is now forced to the camera in NVZ and GFS Mode. * Added Gaussian Dots pattern support for normal acquisition. * Added Optitrack standard Prior Focal Length lenses. * Added Calibration adjustment from Reference concept. Select a reference, then only apply a new calibration if optical centers and Intrinsic calibration parameters are close enough to their reference. * Added SLAC progress report and Completion ETA. * Added an option to filter mirror reflections (Advanced Menu). * Automated selection of camera/projector pairs. * Overall UI improvements. * **Calibration report list** * Each calibration is now saved (up to the last 100), which allows comparing and investigating calibrations over time. * **Point Cloud Alignment** * ICP Improvements: Changes to the number of samples and the inlier distance, it help the algorithm find the best alignment possible. * Robustness improvement: Added a new outlier rejection mechanism to make the algorithm more robust when there are many outliers or when one point cloud is a subset of the other. * Sampling Methods: Two new model sampling methods based on normals to improve the algorithm's convergence. * Projective Transform: Improved accuracy, now estimating target and source normals if not provided. ## Graph FX and Particles * **The Relighting FX feature has been improved with the addition of multi-light support.** * You can now add up to 128 simultaneous virtual point lights using blob input. * **New time source options for the Time Code FX.** * Additional options for time sources in the Time Code FX allow flexibility in what time the effect displays. New options are available in the Time source combo: * **NEW FX: Range Visualizer.** * Highlights out-of-range pixels. * **Support for multiple numerical outputs (as a single vector) in the OSC Client graph node.** * **Improved "DMX Mapping" graph node performance.** * **NEW FX Graph node: Flock Force.** * Implementation of the flocking behavior to produce boids models with the particles. * **Introducing a new Particle renderer node: Mesh Renderer.** * Enables rendering 3D particles, including animated 3D models. * **Preliminary support for animated FBX models in particle rendering.** * **Voxelizer and Lidar can now interact with particles.** * Voxel input enables each particle to be affected by optical flow from the Voxelizer, allowing trackerless natural interaction with particle systems. * Particle Emitter Node now includes controls for controlling the simulation speed as well as freezing and reversing particle simulation at any moment. * **Unreal:** * Perfect alignment between Photon and Unreal using FOV and Lens Shift through Unreal SceneCapture2D. ## Voxelizer (Markerless Tracking) * **Improved filtered rendering:** * Better Raymarch Filtering to help eliminate stepping artifacts in the rendering. * **Optical Flow:** * Added 3D Optical Flow to apply forces to particles. * **Background Removal** * Background Load/Save slots allow support for multiple simultaneous Voxelizers. * Auto Load Background after a restart/reload and Background Reset button. * **FX rendering:** * Added multi-light source Blinn shading using Blobs as light sources and Shadow rendering for projector POV. * **Fixes:** * Fixed unwanted blending accumulation in Blur and Erosion Filter. * Fixed large voxel resolution bug. ## Timeline * **The preload media option is now disabled by default.** * **Timeline Editing: Shortcut to trim clips to fade-in/out points.** * Trim using Ctrl+Shift+\[ or Ctrl+Shift+] to consider the beginning or end of a transition. * **Snap playhead to fade in/out values.** * **Visual cue when a clip snaps to the playhead.** * **Visual cue when a region snaps to the playhead.** * **New DMX clip icon.** * Display icon when the media clip is linked to a fixture. * **New media clip icons.** * Icon for media type (image vs. video). * Icon if frame blending is enabled. * **Ability to frame selected clips from Clip Properties using the shortcut \[F].** * **Improved Clips Cache now evaluates all clip types.** * **Added the ability to specify universal cross-fade delay threshold.** * **Photon's new synchronization mechanism supports Nvidia Gsync,** allowing perfect multi-server frame accuracy and smoother playback**.** ## Color Management * **REC2100 colorspace and PQ curve** are now supported for color transformation, allowing for even more accurate and vibrant colors. * **The Color Picker is now an independent module**, making it more user-friendly and streamlined. It can directly be accessed with a simple shortcut: \[Alt+Y]. ## UV * **Adding uv\_remap and uv\_offset FXs.** * UV Remap FX allows users to change an object's texture by using a UV pass to replace it with another. On the other hand, the UV Offset FX applies a relative offset to the source coordinates, allowing it to shift by a few texels in its surroundings. * **UV Preview with Hierarchy rendering.** * Users can now preview an assembled version of UVs inside a hierarchy of objects. This tool lets users see the UV clusters of each object that makes up a hierarchy rendering and allows them to snap the texture to clusters independently. * **UV conversion and realtime splitting improvements (automatic media slicing for multi-server super high-resolution playback).** * Added splitting support for Virtual Projector and LED screen * Added LED preview and timeline preview splitting support. ## File Manager * **Export CSV.** * Now includes an index column. * Export CSV index starts at 1. * "Hide original" option is now considered. * **New File Manager filters** * File Sequence: Groups .seq files and their associated VCI files. * Converted: Groups only converted VCI files. * Originals: Groups only imported original files. Ignores and disables the hide originals toggle automatically. * **New LED splitting on conversion support.** * The systems can automatically crop the required slice of video at conversion for each playback machine based on its connected LED processor coverage. * **Notch blocks now appear in used/unused Filters.** * **P2P version 2023.** * New and improved high-performance internal transfer engine for File Manager is now P2P v3, resulting in significantly better performance on high bandwidth networks. ## 3D Scene * **Improved 3D object transparency rendering.** * **Virtual Projectors performance optimization:** * Introducing vertex clipping mechanism to reduce the amount of pixels rasterized. * **FBX SDK update to 2020.3.1** ## UI/UX * **Greatly improved Font Rendering.** * **Redesigned Scalable interface (4k compatible) with redesigned iconography.** * **Maximizable windows now have a dedicated indicator icon and can restore the original size.** * **Added instant search in all combo boxes.** * **Keyframe Editor now follows the zoom factor.** * **Improved shortcuts consistency .** * Albion Monitoring shortcut is now ALT+SHIFT+A * Profiler shortcut is now ALT+P * Undo Manager is now ALT+SHIFT+U ## I/O * **Livox** * New support for AVIA's repetitive pattern and high-sensitivity options.\ Livox Avia can switch between a wide-angle pattern and a very narrow vertical FOV pattern (almost like a Lidar plane). * New Support for the latest Livox Lidars production model HAP. * **Projector control** * Introducing a new basic control feature for the Christie HS series. * **Live input** * Significant improvements to Black Magic Decklink input cards support. The System now supports Quad Link 3G-SDI (up to 8K) along with 10-bit YUV and multi-input support. * **Network Show Control** * The GET\_SYSTEM\_STATE command will now provide the current task's percentage (%) in its reply. * The new REMOVE\_MEDIA command can now delete media from the Media Library, including files in playlists and the content folder. * **DMX** * DMX layer control of "media index" now starts at 1. \ 0 means "No Media". * DMX layer control performances using a "media index" with many media files are greatly improved. * DMX Show Control value is now applied to its linked parameter only on value change. * DMX timeline control of "region index" now starts at 1. \ 0 means "Do Nothing." ## Logs * **Improved logs when PHOTON connects or disconnects from projectors.** * **Improved log messages in case of errors when pressing on "NVIDIA Control Panel" from the Settings window.** * **Improved "Log Manager" internal networking pipeline.** * **Prevent overzealous logging from PJLink projectors.** * **Reduce the number of log entries for missing VCI / VCD files.** * **Complain only once about excess cameras in a project.** ## Shadow * **You can save a project using the Shadow module without recording other actions.** * The project will be saved in a shadow session if no recording types are selected (e.g. mouse, PSN...). ## Network Assistant * **A new option to delay the startup of VNA to allow all system resources to complete boot.** ## TACHYON * **New FREE and DOWNLOADABLE version Tachyon Learning.** * 2x watermarked output. * Please download, learn, test and have fun at [tachyon.video](https://tachyon.video/) * **Added Virtual Projector support in the 3D Scene.** * **Added Composer clip support in Timeline.** * **Added FBX support.** * **Various UI improvements.** # XENON - V11.1 Release Note ## SLAC (Structured Light Automatic Calibration) * **Introducing NVZ SLAC (imperceptible automatic alignment)** * Based on years of internal RnD, now allows to automatically align large quantities of projectors without disturbing your audience by projecting subtle patterns that can be imperceptible to most people's eyes. * Continuous alignment mode allows to run NVZ SLAC continuously and improve projection alignment over time while your show is running. * **Improved GFS (super High speed mode)** * Now working seamlessly with large quantities of cameras/projectors. * Entirely optimized on GPU for smooth and quick experience. * Calibrate large projection installations in less than 2 seconds per projector. * **SLAC improvements** * Camera resolution for multiview is now fetched directly from the camera. * MJPEG mode is now forced to the camera in NVZ and GFS Mode. * Added Gaussian Dots pattern support for normal acquisition. * Added Optitrack standard Prior Focal Length lenses. * Added Calibration adjustment from Reference concept. Select a reference, then only apply a new calibration if optical centers and Intrinsic calibration parameters are close enough to their reference. * Added SLAC progress report and Completion ETA. * Added an option to filter mirror reflections (Advanced Menu). * Automated selection of camera/projector pairs. * Overall UI improvements. * **Calibration report list** * Each calibration is now saved (up to the last 100), which allows comparing and investigating calibrations over time. * **Point Cloud Alignment** * ICP Improvements: Changes to the number of samples and the inlier distance, it help the algorithm find the best alignment possible. * Robustness improvement: Added a new outlier rejection mechanism to make the algorithm more robust when there are many outliers or when one point cloud is a subset of the other. * Sampling Methods: Two new model sampling methods based on normals to improve the algorithm's convergence. * Projective Transform: Improved accuracy, now estimating target and source normals if not provided. ## Timeline * **The preload media option is now disabled by default.** * **Timeline Editing: Shortcut to trim clips to fade-in/out points.** * Trim using Ctrl+Shift+\[ or Ctrl+Shift+] to consider the beginning or end of a transition. * **Snap playhead to fade in/out values.** * **Visual cue when a clip snaps to the playhead.** * **Visual cue when a region snaps to the playhead.** * **New DMX clip icon.** * Display icon when the media clip is linked to a fixture. * **New media clip icons.** * Icon for media type (image vs. video). * Icon if frame blending is enabled. * **Ability to frame selected clips from Clip Properties using the shortcut \[F].** * **Improved Clips Cache now evaluates all clip types.** * **Added the ability to specify universal cross-fade delay threshold.** * **Photon's new synchronization mechanism supports Nvidia Gsync,** allowing perfect multi-server frame accuracy and smoother playback**.** ## Color Management * **REC2100 colorspace and PQ curve** are now supported for color transformation, allowing for even more accurate and vibrant colors. * **The Color Picker is now an independent module**, making it more user-friendly and streamlined. It can directly be accessed with a simple shortcut: \[Alt+Y]. ## UV * **Adding uv\_remap and uv\_offset FXs.** * UV Remap FX allows users to change an object's texture by using a UV pass to replace it with another. On the other hand, the UV Offset FX applies a relative offset to the source coordinates, allowing it to shift by a few texels in its surroundings. * **UV Preview with Hierarchy rendering.** * Users can now preview an assembled version of UVs inside a hierarchy of objects. This tool lets users see the UV clusters of each object that makes up a hierarchy rendering and allows them to snap the texture to clusters independently. * **UV conversion and realtime splitting improvements (automatic media slicing for multi-server super high-resolution playback).** * Added splitting support for Virtual Projector and LED screen * Added LED preview and timeline preview splitting support. ## File Manager * **Export CSV.** * Now includes an index column. * Export CSV index starts at 1. * "Hide original" option is now considered. * **New File Manager filters** * File Sequence: Groups .seq files and their associated VCI files. * Converted: Groups only converted VCI files. * Originals: Groups only imported original files. Ignores and disables the hide originals toggle automatically. * **New LED splitting on conversion support.** * The systems can automatically crop the required slice of video at conversion for each playback machine based on its connected LED processor coverage. * **Notch blocks now appear in used/unused Filters.** * **P2P version 2023.** * New and improved high-performance internal transfer engine for File Manager is now P2P v3, resulting in significantly better performance on high bandwidth networks. ## 3D Scene * **Improved 3D object transparency rendering.** * **Virtual Projectors performance optimization:** * Introducing vertex clipping mechanism to reduce the amount of pixels rasterized. * **FBX SDK update to 2020.3.1** ## UI/UX * **Greatly improved Font Rendering.** * **Redesigned Scalable interface (4k compatible) with redesigned iconography.** * **Maximizable windows now have a dedicated indicator icon and can restore the original size.** * **Added instant search in all combo boxes.** * **Keyframe Editor now follows the zoom factor.** * **Improved shortcuts consistency .** * Albion Monitoring shortcut is now ALT+SHIFT+A * Profiler shortcut is now ALT+P * Undo Manager is now ALT+SHIFT+U ## I/O * **Projector control** * Introducing a new basic control feature for the Christie HS series. * **Live input** * Significant improvements to Black Magic Decklink input cards support. The System now supports Quad Link 3G-SDI (up to 8K) along with 10-bit YUV and multi-input support. * **Network Show Control** * The GET\_SYSTEM\_STATE command will now provide the current task's percentage (%) in its reply. * The new REMOVE\_MEDIA command can now delete media from the Media Library, including files in playlists and the content folder. * **DMX** * DMX layer control of "media index" now starts at 1. \ 0 means "No Media". * DMX layer control performances using a "media index" with many media files are greatly improved. * DMX Show Control value is now applied to its linked parameter only on value change. * DMX timeline control of "region index" now starts at 1. \ 0 means "Do Nothing." ## Logs * **Improved logs when PHOTON connects or disconnects from projectors.** * **Improved log messages in case of errors when pressing on "NVIDIA Control Panel" from the Settings window.** * **Improved "Log Manager" internal networking pipeline.** * **Prevent overzealous logging from PJLink projectors.** * **Reduce the number of log entries for missing VCI / VCD files.** * **Complain only once about excess cameras in a project.** ## Shadow * **You can save a project using the Shadow module without recording other actions.** * The project will be saved in a shadow session if no recording types are selected (e.g. mouse, PSN...). ## Network Assistant * **A new option to delay the startup of VNA to allow all system resources to complete boot.** ## TACHYON * **New FREE and DOWNLOADABLE version Tachyon Learning.** * 2x watermarked output. * Please download, learn, test and have fun at [tachyon.video](https://tachyon.video/) * **Added Virtual Projector support in the 3D Scene.** * **Added Composer clip support in Timeline.** * **Added FBX support.** * **Various UI improvements.** # TACHYON - V11.1 Release Note Follow the link below to Tachyon's release note on its separate documentation. {% content-ref url="/spaces/-MYzHHptIwrfWPsTrniB/pages/Ko4f3v7tPC7lsniAgn9m" %} [TACHYON - V11.1 Release Note](https://docs.tachyon.video/user-guide/tachyon-v11.1-release-note) {% endcontent-ref %} # Automatic Clip Distribution Introducing a new way of fast programming shows. Automatic distribution of clips (any type) across any number of screens in just seven clicks! ## Create a virtual projection on 25 screens at once This setup has 25 Screens and an Orthographic Virtual Projector:
Your Timeline should look like this:
### Click #1 Open the Clip Distributor by clicking on the Jihanki (Japanese Vending Machines) button in the new tools column of the Timeline:
Or Select {Tools>Create Clips on Multiple Screens}
This will open this new distributor module.
### Clicks #2 & #3 Select {Virtual Projector} in the {Clip Type} drop-down menu.
Hit \[Ctrl+A] to select all screens.
Enable {Create Clips on Selected Screens Only} (toggle button on the top right).
### Click #4 \[Ctrl+Left click] the root to exclude it. ### Click #5 Hit the {Create Clips} button.
And voilà: 25 Nice Virtual Projector clips, one for each screen.
With the new Multi-Selection you can now set all 25 clips at once for the root source image and the Virtual Projector placed in the scene. (Clicks #6 & #7)
Here is the final result. {% hint style="info" %} You can obviously use the tool to create any clip type :) {% endhint %} ## **BONUS CLICKS** ### **Screen Selection**
The {Screen} drop-down menu allows you to choose which screens will be affected by the distribution tool. #### **ALL** Clips will be added to all screens #### From Selection The distribution will begin from the selected screen in the Timeline and continue downward. #### Metadata You can segment screens using the {Metadata} search input.
It works the same way as the Timeline {Search for Screens}. The {Create Clips on Selected Screens Only} toggle applies clip distribution to only the selected screen in the tool.
### **Per Screen Options** Each screen has a set of options to control the creation of clips.
### **In point** Sets the {In Point} of the clip:
Playhead Front:
Playhead Back:
Playhead Mid:
{Set Manually} gives you access to a time slider to set a custom time.
### **Duration** {Default} will be using the value in {Settings>General>Timeline}
{Set Manually} gives you access to a time slider to set a custom time.
### **Layer** You can specify the layer on which the clip will be created for each screen.
#### New Will create a new layer at the bottom of the layer stack in each screen. #### First Will create the clip on the first (top) layer of each screen. #### Last Will create the clip on the last (bottom) layer of each screen.
{Set Manually} lets you choose on which layer you want to create the clip. All these options can be configured simultaneously on all screens using multi-selection. ## Distribute media on Multiple Screens at once You can now easily distribute media across multiple screens. A new input box named {Media Name Pattern} allows you to establish a naming pattern for each screen, which can be mirrored in the media files naming system used by the content house. Set a naming convention for each screen.
Replicate that naming convention in your Media Files.
Select the Media Files you want to distribute on screens in the File Manager \[Alt+F] and \[Right Click] Select {Auto Create Media Clips on Screens}.
It will automatically launch the clip distribution tool in media mode and link the media to their respective screens.
If the media name does not match the screen name, a pop-up warning will be displayed:
If you are adding video using the tool, set the duration sliders to match the media length.
And there you have it: 25 media pieces distributed across their respective screens.
## Auto Replace Media Clip in Timeline You can now easily replace media across multiple screens. {% hint style="warning" %} Note that this follows the same logic as the automatic creation: screens and files must adhere to the chosen name pattern. {% endhint %} In the Timeline, select the media clips you wish to replace.
In the File Manager, select the Media Files you want to replace on screens and \[Right Click] Select {Replace Media Clips in Timeline}.
{% hint style="warning" %} It will not launch the clip distribution tool. {% endhint %} 25 media pieces replaced across their respective screens:
# Collect Files for Support Dedicated tool to send necessary files to VYV for support. ## Overview When seeking support, users can easily send their saved files along with additional necessary files to VYV. To make this process smooth and efficient, PHOTON offers a dedicated tool designed just for this purpose: Collect Files for Support. In the Main Menu Bar, Select {File > Collect files for support}
A file dialog will appear. Select the folders or files you want to add to the zip file and click the {Add to archive} button at the bottom right of the dialog. * You can select multiple files or folders at the same time and add them all at once. * You can add to the archive as many times as you wish. * Please exercise caution when adding large files to the archive, particularly regarding content, as the zip file could become excessively large.
After adding all necessary files to the archive, press the {Done} button located at the bottom left of the File Dialog. A second File Dialog will appear:
Select a destination and enter a file name. Click the {Create archive} button to generate a .zip file containing all selected files and folders. ## **Requirements for VYV Support** When contacting the VYV support team, always include your most recent or problematic PHD file, your project models, and your log files. In the event of a software crash, please also include the dump file (if generated). If more files are needed, someone from VYV will reach out to you for them. # How to copy a server Outputs config Press \[Alt+S] or select {System > Settings} from the Main menu to open the Settings module.
In the Photon tab, select the server from which you want to copy the output configuration. \[Right-click] to open the contextual menu and select {Copy Outputs Config}, or simply press \[CTRL+C].
Choose the connected server to which you would like to apply the configuration.
\[Right-click] to open the contextual menu and select {Paste Outputs Config} or simply press \[CTRL+V].
A pop-up window will appear, prompting you to confirm the assignment.
Once applied, you will see that the output configuration is replicated on the selected server. {% hint style="warning" %} If outputs are already configured on the destination server, the pasted outputs will be added to the existing list of the destination server. {% endhint %} # How to quickly rename Layers ## Overview When programming a show, you create many layers. Before handing it over to operations, it is a good practice to rename the layers on each screen for clarity.
\[Right click] on the Screen Layer directly over the Timeline to open the contextual menu and select {Rename All Layers}.
A pop-up window will appear. Please select a name and enter a starting number for increments.
It will automatically rename all layers using the specified name and incrementing them from the chosen starting number. ## Bonus: Rename a Screen in the Timeline To rename a screen in the Timeline, double left-click the Screen layer label or single left-click it and press \[F2]. Press \[Enter] to confirm or \[Esc] to cancel.
{% hint style="warning" %} This operation will not modify the object's name in the 3D scene. {% endhint %}
# How to use the Dynamic Grid The Dynamic Grid feature enables the switch of the VYV Grid {D} with an adaptive version that adjusts to the screen's resolution—ensuring the grid’s elements remain perfectly square.
{% hint style="info" %} To ensure the grid elements appears square, the screen's resolution should be properly set in the screen properties {P} or {Options Panel > Properties}. {% endhint %}
You can find the Grid Options in the 3D Scene Options panel by clicking the gear icon on the right side of the viewport.
Expand the {Grid Options} section and change the setting from {Static} to {Dynamic} in the dropdown menu. {% hint style="info" %} When enabled, the Dynamic Grid option will be applied across all screens. {% endhint %} ## **Static**
## **Dynamic**
## **Display Grid Subdivision** Enabling the {Display Grid Subdivision} toggle adds extra horizontal and vertical lines to the dynamic grid. This feature enhances precision and alignment when working on detailed surfaces.
{% hint style="warning" %} This feature can be taxing on performance, especially when working with complex 3D models that contain a large number of faces. Due to its potential impact on system resources, the Dynamic Grid is not enabled as the default option. It is recommended to use this feature selectively based on project requirements. {% endhint %} # Looping Regions ## Introducing Looping Tools for Regions We are excited to introduce new looping tools in the Region tab! These tools are designed to help you tackle complex programming scenarios with ease, offering greater flexibility and control over your timeline playback. With the new looping functionality, you can now loop a section of the Timeline indefinitely or for a specified number of iterations before the playhead continues its progression. This feature is perfect for creating seamless transitions, repeating critical sections, or refining intricate show sequences. ## How to Use Looping Regions
After creating a region in version 11.3, you will notice a Möbius strip toggle appearing to the left of the region label. * Activate Looping: Toggle the Möbius strip icon to enable looping for the selected region. Once activated, the region will loop indefinitely whenever the playhead enters it. * Visual Indicators: The region will change to the color orange, and two triangles will appear on each side to indicate looping mode.
## Looping Options #### Number of Loops Set the number of times the region will repeat before exiting. The loop count will appear on the left side of the region. #### Auto Break Enable this option to automatically turn off loop mode when the playhead exits the region. If disabled, the looping settings will reset for future use. #### Loop Completion When the loop counter decreases to zero, the final loop will begin, and the triangle of the looping region will become hollow, signaling the last iteration.
## Key Features #### Infinite Looping Loop regions indefinitely for continuous playback. #### Custom Loop Count Specify the number of loops for precise control over playback. #### Visual Feedback Orange color and hollow triangles provide indicators of loop status. #### Auto Break Automatically disable looping after exiting the region for streamlined programming. ## Conclusion The new looping tools in the Region tab empower users to handle complex show programming with confidence and creativity. By enabling regions to loop indefinitely or for a set number of repetitions, these tools simplify playback management and ensure smooth transitions. The intuitive visual indicators make it easy to monitor loop status, allowing you to focus on delivering exceptional productions. Whether you are refining intricate sequences or addressing challenging programming scenarios, these looping features elevate your workflow to new heights. Happy looping! # Preview Programming The Preview Programming tool is a powerful enhancement to the Timeline, designed to improve your workflow and flexibility in programming. Located at the top of the transport tools, just above the Timeline Clock, this feature enables you to view and edit a different section of the Timeline (or a different Timeline sequence), while the current output display remains unchanged. This is particularly beneficial in multi-user scenarios, as it allows multiple users to edit different time points simultaneously without the need to resynchronize other control stations. You can now efficiently refine and program your timeline without interrupting the ongoing output, streamlining the creative and technical process.
By activating the {Preview Programming} toggle, the playhead will turn green. This green playhead indicates that you can view the content in the Preview Window of your controller, while the displays continue to show the output content. This feature allows you to navigate, edit, keyframe, and modify any aspect of your show while it is running. When you deactivate the {Preview Programming} toggle, the playhead will turn red again and return to the current position in your show. This action automatically resynchronizes your controller with the displays. There is no need to push any changes to the display or perform any additional actions—all systems are synchronized across the network at all times. ## **Key Features** #### **Status Indicator** When the Preview Programming tool is enabled, the Timeline Clock and the playhead will turn green, providing a visual indication that the feature is active.
#### **Edit While Running** Make changes to the timeline, such as exchanging or adding content, creating animations, and setting keyframes, even during a live show. #### **Preview Changes** View your modifications in the Preview Window to ensure accuracy before applying them to the outputs. #### **Quick Mode Switching** Easily switch between timeline modes by pressing \[Y] on the keyboard. This will toggle between Always Follow, Comfort Check, and Preview Programming modes. ## **Requirements** #### Multi-Machine Setup This feature is only supported in a multi-machine environment. A minimum of two networked servers is required for it to function (either a controller and display master or two display masters), as the Master Clock will temporarily switch from the main controller to the other system while the feature is enabled. ## Timecode and Master Clock Behavior with Preview Programming If you have two controllers (one main and one backup), the Master Clock (represented by the “M” in the Network Monitor Connections column) will temporarily switch to the second controller while the Preview Programming option is enabled.
If Timecode is being used and the timecode source is linked to both controllers, the display will remain synchronized to the timecode, as it will receive its sync from the second controller. However, if only one controller is being used with Timecode, the display will not be able to latch onto the timecode, as the Master Clock is temporarily not present on the single controller while the option is enabled. When the option is disabled, the playhead will switch back to red, automatically jumping its time to the current timecode of the Master Clock. The Master Clock priority will also be regained if you are using the main controller (assigned automatically to the lowest IP address). ## Managing Cue Triggers with Preview Programming Playhead The user should be aware that cue clips located on the timeline will still be triggered by the Preview Programming playhead, so navigation must be carefully managed. For example, projector shutter cues placed on the timeline will be triggered if the Preview Programming playhead reaches the clip. \ \
# Push/Agglutinate When programming, you sometimes need to add more time or space to your timeline to accommodate a song or to remove it when cleaning up your show. The Push/Agglutinate Tool will perform precisely that. To access it, press the second icon at the top of the timeline or select {Push/Agglutinate} in the {Tools} Menu of the Timeline Editor.
A pop-up window will appear with several options:
The first Dropdown will allow you to select: * **Push**: to add more time. * **Agglutinate**: to remove time. **Time Slider {Ref Time}** (not editable) It is set by the playhead position and acts as the starting point. You need to move the playhead to change this value. **Time Slider {Offset Time}** It is the value of time to be added or removed when pressing either of the two buttons. Note: If you are unsure how much time to add or remove, set a smaller value and use the tool incrementally until you reach the desired time. **{Move Regions} toggle** It determines whether the regions are influenced by the Push/Agglutinate. **Apply to Current Screens** button The push/agglutinate will be applied only to the selected screen. **Apply to All Screen** button The push/agglutinate will be applied to all the screens.
## PUSH If you need to add more space in your sequence, select {Push}.
* Place the Playhead to your desired starting time. * Set an offset time. * Press {Apply To All Screens}.
## Agglutinate If you need to remove space in your sequence, select {Agglutine}.
* Place the Playhead to your desired starting time. * Set an offset time. * Press {Apply To All Screens}.
# Timeline Markers ## Overview **Timeline Markers** allow users to place marker clips on the Timeline for external DMX transport control. These clips, represented by a beige color, enable a lighting desk to trigger specific points in the Timeline, allowing a single operator to control both lighting and video. When a lighting console sends a DMX command, the Timeline can jump to a designated marker clip, triggering video cues directly from the desk. This setup is particularly useful in environments where one operator manages both lighting and video, streamlining show control without requiring separate systems for cue execution. Markers can be assigned unique IDs to correspond to commands from the lighting desk or cue IDs from the stage manager, ensuring quick and efficient cueing. Additionally, notes can be added to markers to provide reference details for the operator.
## Add a marker clip in the Timeline 1. Open the Timeline Module using **\[Alt+T]** or go to **{Show > Timeline}** in the main menu bar. 2. Place the playhead at the desired time on the Timeline and press **{M}.** 3. Alternatively, **\[Right-click]** on any track in the Timeline (each layer has its own track) to open the contextual menu. Select **{Add Marker}** to add a marker at the cursor position. You can adjust the length and position of the marker clip in the Timeline like any other clip type. ## Set a marker ID 1. Select the Marker Clip to which you want to assign an ID. 2. **\[Left-Click]** on the {ID} Text box. 3. Enter the desired ID.
{% hint style="info" %} IDs are Composed of: “ID#.SubID#” (e.g., “10.1”). {% endhint %} ## Add an annotation to the Marker 1. Select the Marker Clip to which you want to add Notes. 2. **\[Left-Click]** on the {Notes} Text box. 3. Enter the desired message about your show.
## Use Timeline Advanced Search to Navigate Markers 1. Open the Advanced Search from {Tools > Advanced Search} by clicking the \[Open the Timeline’s Advanced Search] button or by pressing \[Ctrl+Alt+F]. 2. Select "Marker Clips" from the drop-down menu to filter results. 3. Navigate between Markers: * Click \[Go to Previous] to move the Playhead to the previous Marker clip. * Click \[Go to Next] to move the Playhead to the next Marker clip. ## **Key Features** #### **Add Marker Clips** Use \[M] to add marker clips to the Timeline. #### **Multiple Markers** Place multiple markers to quickly jump between different sections or cues in the Timeline. #### **Navigation Shortcuts**: * Press \[Shift+M] to jump to the next marker. * Press \[Ctrl+Shift+M] to jump to the previous marker. ## **Marker Properties** #### **ID** Composed of ID.SubID (e.g., 10.1). #### **Notes** Add personal notes to each marker for easy reference. ## **DMX Timeline Fixture** Two additional parameters are introduced for the DMX Timeline Fixture: Marker ID and Marker Sub ID.
## **Linking Timeline Fixture** Under the DMX tab in the Timeline, link the Timeline Fixture to enable marker use with DMX input.
# Get Started - A Quick Start Guide The fundamental tasks you will accomplish when building a PHOTON project are regrouped in this quick start guide that will lead you to investigate a few of the software’s modules and create a simple show. {% content-ref url="/pages/-Lfuav3lYRWbWj7ukFEz" %} [1. Prerequisites](/user-guide/1.-prerequisites) {% endcontent-ref %} ## Gear * 2 PHOTON servers connected on a dedicated network. * 2 video projectors connected to one of the servers. * 1 half-cube. * 1 media asset such as a .MOV video file. ## 1. Establish Networking - Connect 2 Servers Together {% embed url="" %} {% hint style="info" %} **OPEN THE SETTINGS MODULE** Select {System > Settings} or press \[Alt+S]. [--> Learn more about the Settings module.](/modules/settings) {% endhint %} 1. Press \[Tab} to display Photon UI. 2. Select {System > Settings} or press \[Alt+S]. 3. Open the {Create Network Group} window and select the available server. 4. Set the connection ports and click on the \[apply] button. ## 2. Create and Configure Outputs {% embed url="" %} {% hint style="info" %} **OPEN THE SETTINGS MODULE** Select {System > Settings} or press \[Alt+S]. [--> Learn more about the Settings module.](/modules/settings) {% endhint %} 1. Set the first server in Controller mode. 2. Set the second server in Display mode. 3. Create outputs (auto creation of displays) on the display server. 4. Configure the outputs resolution. ## 3. Add, Transform & Position a Screen {% embed url="" %} {% hint style="info" %} **OPEN THE 3D SCENE MODULE** Select {System > 3D Scene} or press \[Alt+C]. [--> Learn more about the 3D Scene module.](/modules/3d-scene) {% endhint %} 1. Add a Screen {Primitive > Default Object > Cube}. 2. Open the Transformations Option panel. Press \[T] or select {Options Panels > Transformations}. 3. Scale and position the Screen. 4. Click on the \[set freeze] button to set the calibration points’ new position. 5. Open the Properties Option panel. Press \[P] or select {Options Panels > Properties}. 6. Set the resolution of the Screen. ## 4. 3D Manual Calibration {% embed url="" %} {% hint style="info" %} **OPEN THE 3D SCENE MODULE** Select {System > 3D Scene} or press \[Alt+C]. [--> Learn more about the 3D Scene module.](/modules/3d-scene) {% endhint %} 1. Select the calibration operation mode. 2. Activate the \[Enable calibration] toggle. 3. Assign the Screen as reference object for both Projectors. 4. Perform a manual calibration for both projectors. 5. Select the first projector. 6. \[Ctrl+double-left-click] vertices to activate the calibration points. 7. Position them in the Calibration Tool window to match the physical model’s points. 8. Repeat the previous steps with the second projector. 9. Display the calibration. Grid. Press \[D]. 10. Activate the \[Enable Blending] toggle. ## 5. Import a File {% embed url="" %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. [--> Learn more about the File Manager module.](broken://pages/O0uHwnLZ8c3d7Ovd7iQs) {% endhint %} 1. Click on the import button. 2. Browse your media assets. 3. Click on the open button. 4. Watch for the task’s completion. ## 6. Add a Media Clip onto the Screen {% embed url="" %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+t]. [--> Learn more about the Timeline module.](/modules/timeline) {% endhint %} 1. Open The Timeline 2. Add a Media Clip to the Screen. 3. Assign a video file to the Media Clip. 4. Double-click on the timebar to move the playhead. 5. Press the \[space bar] to start playback. # UI Basics {% embed url="" %} UI Basics {% endembed %} ## Related Documentation {% content-ref url="/pages/-LfVjhgxkfLgRUYRq1lm" %} [2. Fundamentals of PHOTON and its User Interface](/user-guide/1.-prerequisites/2.-fundamentals-of-photon-and-its-user-interface) {% endcontent-ref %} # PHOTON Shortcuts {% file src="/files/-LqHdbmZXKPvwYzYzshE" %} Download the complete Shortchut List {% endfile %} ## Global Shortcuts | Description | Shortcut keys | | ---------------------------- | ----------------- | | Show/Hide UI | Tab | | Select Previous UI Container | Ctrl+Tab | | Select Next UI Container | Ctrl+Shift+Tab | | Toggle Fullscreen (VNC) | Shift+Tab | | Play/Pause | Space | | Show Console | Ctrl+Shift+Alt+H | | Quit (no save) | Ctrl+Shift+Alt+Q | | Undo | Ctrl+Z | | Redo | Ctrl+Y | | Synchronize All Servers | Ctrl+Enter | | Load Default Project | Ctrl+L | | Load Project... | Ctrl+Shift+L | | Save Default Project | Ctrl+S | | Save Incremental | Ctrl+Alt+S | | Save Project... | Ctrl+Shift+S | | Quit Photon | Ctrl+Q | | Show Settings | Alt+S | | Show Shadow | Alt+Z | | Show 3D Scene | Alt+C | | SLAC Workflow | Shift+Alt+C | | Show I/O Manager | Alt+I | | Show Mapping Manager | Alt+M | | Show Network Monitor | Alt+N | | Show Neutron | Shift+Alt+N | | Show Custom UI Menu | Alt+U | | Show Timeline | Alt+T | | Show Screen Mixer | Shift+Alt+T | | Show File Manager | Alt+F | | Show Keyframe Editor | Alt+K | | Show Cue Editor | Alt+Q | | Show Color Correction | Alt+G | | Show FX Graph | Alt+X | | Show Graph V2 | Shift+Alt+X | | Show Preview Window | Alt+V | | Show Scheduler Events Editor | Alt+E | | Show Output Control | Alt+O | | Show Timecode Menu | Alt+D | | Show Rendering Menu | Alt+R | | Show Undo Stack Menu | Shift+Alt+U | | Show Color Picker | Alt+Y | | Show Albion Monitoring | Shift+Alt+A | | Show Profiler | Alt+P | | Show Logs Menu | Alt+L | | Reset UI Pan/Zoom | Alt+0 | | Reset UI Pan/Zoom | Alt+NUM 0 | | Hide All UI Widgets | Shift+Alt+W | | Hide Module in Focus | Alt+W | | Toggle Canvas View | F11 | | Load Workspace 1 | Alt+5 | | Load Workspace 2 | Alt+6 | | Load Workspace 3 | Alt+7 | | Load Workspace 4 | Alt+8 | | Save Workspace 1 | Ctrl+Alt+5 | | Save Workspace 2 | Ctrl+Alt+6 | | Save Workspace 3 | Ctrl+Alt+7 | | Save Workspace 4 | Ctrl+Alt+8 | | Show Help Menu | F1 | | Gather All Windows in UI | F3 | | Screenshot All Windows | Ctrl+Shift+Alt+F4 | | Show Advanced Options Menu | Ctrl+Shift+Alt+F7 | | Activate/Deactivate VSync | Ctrl+Shift+Alt+V | | Reload skin | Ctrl+Shift+Alt+F9 | | Generic Debug Command | Ctrl+Shift+Alt+, | | GL Sync Outputs | Ctrl+Shift+Alt++ | | Delete | Del | ## Timeline Shortcuts | Description | Shortcut keys | | ---------------------------------------------------- | ---------------------- | | Strobe Backward | J | | Pause | K | | Strobe Forward | L | | Step Forward 1 Frame | Ctrl+Right arrow | | Step Forward 10 Frames | Ctrl+Shift+Right arrow | | Step Backward 1 Frame | Ctrl+Left arrow | | Step Backward 10 Frames | Ctrl+Shift+Left arrow | | Next In/Out | Ctrl+K | | Previous In/Out | Ctrl+J | | Next In/Out/Key | Ctrl+Shift+K | | Previous In/Out/Key | Ctrl+Shift+J | | Next In/Out (selection) | Ctrl+Alt+K | | Previous In/Out (selection) | Ctrl+Alt+J | | Next In/Out/Key (selection) | Ctrl+Shift+Alt+K | | Previous In/Out/Key (selection) | Ctrl+Shift+Alt+J | | Add Composition | Ctrl+Shift+T | | Add Sequence | Ctrl+T | | Append Layer | Ctrl+Shift++ | | Copy Shared Clip Properties | Ctrl+Alt+C | | Create Composer Clip | Ctrl+G | | Create Composition Clip | Ctrl+H | | Create Cue Clip | Ctrl+U | | Create Empty Clip | Ctrl+N | | Create FX Clip | Ctrl+E | | Create FX Graph Clip | Ctrl+W | | Create Graph V2 Clip | W | | Create Input Device Clip | Ctrl+I | | Create Marker Clip | M | | Create Media Clip | Ctrl+M | | Create Proxy Clip | Ctrl+P | | Create Region | Ctrl+Shift+R | | Create Shadow Session Clip | Ctrl+O | | Create Virtual Projector Clip | Ctrl+R | | Duplicate Clip On A New Layer | Ctrl+D | | Find Media In Editor | X | | Frame Clips And Regions | F | | Go to Top | T | | Import Sequence | Ctrl+Shift+I | | Insert Layer | Ctrl++ | | Move Clip Down | Shift+Down arrow | | Move Clip Up | Shift+Up arrow | | Move Clips Left 1 Frame | , | | Move Clips Left 10 Frame | Shift+, | | Move Clips Left Set Amount | - | | Move Clips Right 1 Frame | . | | Move Clips Right 10 Frame | Shift+. | | Move Clips Right Set Amount | + | | Move Clips Right Set Amount | Shift++ | | Next Clip | Right arrow | | Next Layer | Down arrow | | Next Marker | Shift+M | | Next Media | Ctrl+Down arrow | | Paste All Shared Clip Properties | Ctrl+Alt+V | | Play/Pause Composition | Ctrl+Space | | Previous Clip | Left arrow | | Previous Layer | Up arrow | | Previous Marker | Ctrl+Shift+M | | Previous Media | Ctrl+Up arrow | | Recenter | F5 | | Reset Canvas View | P | | Reset Timeline View | R | | Search | Ctrl+Alt+F | | Search | Ctrl+F | | Select All Clips After Playhead in All Screens | Ctrl+Shift+' | | Select All Clips After Playhead in Current Screen | Ctrl+' | | Select All Clips Before Playhead in All Screens | Ctrl+Shift+; | | Select All Clips Before Playhead in Current Screen | Ctrl+; | | Select All Clips Under Playhead in All Screens | Ctrl+Shift+Alt+; | | Select All Clips in All Screens | Ctrl+Shift+A | | Select All Clips in Current Layer | Ctrl+Shift+Alt+A | | Select All Clips in Current Screen | Ctrl+A | | Select All Media Clips Under Playhead in All Screens | Ctrl+Shift+Alt+' | | Select All Media Clips in All Screens | Ctrl+Shift+M | | Select All Media Clips in Current Layer | Ctrl+Shift+Alt+M | | Set Clip In Point | Ctrl+Home | | Set Clip In Point | Ctrl+Shift+Home | | Set Clip Out Point | Ctrl+End | | Set Clip Out Point | Ctrl+Shift+End | | Set Original Length | I | | Set Original Size | O | | Set Selected Clip Duration To Current Media Length | U | | Show / Hide Layer | Shift+H | | Slice Clip (changes in time) | Ctrl+B | | Slice Clip On A New Layer | Ctrl+Shift+B | | Snap Play Head To Selected Clip | Alt+Home | | Switch Between Tools and Regions Tabs | D | | Switch Playhead Follow Mode | Y | | Trim Clip Fade-In Point | Ctrl+Shift+\[ | | Trim Clip Fade-Out Point | Ctrl+Shift+] | | Trim Clip In Point | Ctrl+\[ | | Trim Clip Out Point | Ctrl+] | ## 3D Scene Shortcuts | Description | Shortcut keys | | --------------------------------------- | ---------------------- | | Add Calibration Point | + | | Automation Window | A | | Calibration Mode (Enable) | Ctrl+4 | | Calibration Mode | 4 | | Cancel current measure | Esc | | Change Rendering Mode | W | | Delete Calibration Point | - | | Delete angle measure | Ctrl+Del | | Device Control Window | Q | | Display Advanced Search | Ctrl+Alt+F | | Edit Object Rotation | C | | Edit Object Scale | X | | Edit Object Translation | V | | Extend Projector Pyramid | Shift+E | | Frame Object | F | | Freeze Object Transformation | Z | | Front View | 6 | | Hide Display | Shift+H | | Import Primitives | Ctrl+Shift+I | | Left View | 7 | | Modeling Mode | 1 | | Move All Calibration Points Down (10x) | Shift+Alt+Down arrow | | Move All Calibration Points Down | Alt+Down arrow | | Move All Calibration Points Left (10x) | Shift+Alt+Left arrow | | Move All Calibration Points Left | Alt+Left arrow | | Move All Calibration Points Right (10x) | Shift+Alt+Right arrow | | Move All Calibration Points Right | Alt+Right arrow | | Move All Calibration Points Up (10x) | Shift+Alt+Up arrow | | Move All Calibration Points Up | Alt+Up arrow | | Move Calibration Point Down (100x) | Ctrl+Shift+Down arrow | | Move Calibration Point Down (10x) | Shift+Down arrow | | Move Calibration Point Down | Down arrow | | Move Calibration Point Left (100x) | Ctrl+Shift+Left arrow | | Move Calibration Point Left (10x) | Shift+Left arrow | | Move Calibration Point Left | Left arrow | | Move Calibration Point Right (100x) | Ctrl+Shift+Right arrow | | Move Calibration Point Right (10x) | Shift+Right arrow | | Move Calibration Point Right | Right arrow | | Move Calibration Point Up (100x) | Ctrl+Shift+Up arrow | | Move Calibration Point Up (10x) | Shift+Up arrow | | Move Calibration Point Up | Up arrow | | Operation Mode | 3 | | Primitive Presets Window | G | | Projection Study Mode | 2 | | Properties Window | P | | Reset View Mode | S | | Reset View | R | | Right View | 8 | | Search | Ctrl+F | | Search Display | Ctrl+Shift+F | | Select Next Calibration Point | Page down | | Select Next Projector | End | | Select Previous Calibration Point | Page up | | Select Previous Projector | Home | | Snapshot | Ctrl+P | | Solo Display | Shift+S | | Toggle Display Grid | D | | Toggle Fixture View Control | Y | | Toggle Measurement Mode | B | | Toggle Object Opacity | H | | Toggle Projection Mode | O | | Top View | 5 | | Transformations Window | T | | Travel Backward | K | | Travel Forward | I | | Travel Left | J | | Travel Right | L | | View Mode (momentary) | S | ## Audio Analysis Shortcuts | Description | Shortcut keys | | --------------------- | ------------- | | Create a New Analyzer | Ctrl++ | ## Color Correction Shortcuts | Description | Shortcut keys | | ------------- | ------------- | | Add CC Look | Ctrl++ | | Search Looks | Ctrl+F | | Snapshot Look | S | ## Cue Editor Shortcuts | Description | Shortcut keys | | ------------- | ------------- | | Add New Cue | Ctrl++ | | Duplicate Cue | Ctrl+D | | Search Cues | Ctrl+F | | Toggle View | V | ## Curve Editor Shortcuts | Description | Shortcut keys | | ----------------------------- | ----------------- | | Decrease X Value (large step) | Shift+Left arrow | | Decrease X Value (small step) | Left arrow | | Decrease Y Value (large step) | Shift+Down arrow | | Decrease Y Value (small step) | Down arrow | | Increase X Value (large step) | Shift+Right arrow | | Increase X Value (small step) | Right arrow | | Increase Y Value (large step) | Shift+Up arrow | | Increase Y Value (small step) | Up arrow | | Select Next Control Point | Page down | | Select Previous Control Point | Page up | ## Documentation Module Shortcuts | Description | Shortcut keys | | ---------------- | ------------- | | Switch View Mode | V | ## FX Graph Shortcuts | Description | Shortcut keys | | --------------------------- | ------------- | | Add FX Graph | Ctrl++ | | Add Node | + | | Align Selected Nodes | L | | Center Graph View | R | | Duplicate selected nodes | Ctrl+D | | Frame On Selected Nodes | F | | Import Graph | Ctrl+Shift+I | | Move Selected Nodes - Down | Down arrow | | Move Selected Nodes - Left | Left arrow | | Move Selected Nodes - Right | Right arrow | | Move Selected Nodes - Up | Up arrow | | Open advanced node explorer | Ctrl+Alt+F | | Search Graphs | Ctrl+F | | Select All Modules | Ctrl+A | | Show Preview | P | | Toggle Pass-Through | D | ## File Manager Shortcuts | Description | Shortcut keys | | ------------ | ------------- | | Delete Media | Del | | Import Media | Ctrl+Shift+I | | Refresh | F5 | | Search Media | Ctrl+F | ## Fixtures Shortcuts | Description | Shortcut keys | | ----------- | ------------- | | Search | Ctrl+F | ## Graph Shortcuts | Description | Shortcut keys | | --------------------------------------------------- | ------------- | | Add Node | + | | Align Selected Nodes | L | | Center Graph View | R | | Create a block from the selected nodes | Ctrl+B | | Create a reroute node at the current mouse position | Ctrl+R | | Delete Selected | Del | | Duplicate selected nodes | Ctrl+D | | Frame On Selected Nodes | F | | Move Selected Nodes - Down | Down arrow | | Move Selected Nodes - Left | Left arrow | | Move Selected Nodes - Right | Right arrow | | Move Selected Nodes - Up | Up arrow | | Open advanced node explorer | Ctrl+Alt+F | | Select All | Ctrl+A | | Show Preview | P | | Toggle Pass-Through | D | ## I/O Mapping Shortcuts | Description | Shortcut keys | | --------------------------- | ------------- | | Create a New Mapping Preset | Ctrl++ | | Import Fixtures | Ctrl+Shift+I | | Search Mappings | Ctrl+F | ## Keyframe Editor Shortcuts | Description | --- | | ----------------------------------------------------- | -------------------- | | Add Keyframe | Ctrl++ | | Decrease Keyframe Time (large step) | Shift+Left arrow | | Decrease Keyframe Time (small step) | Left arrow | | Decrease Keyframe Value (large step) | Shift+Down arrow | | Decrease Keyframe Value (small step) | Down arrow | | Delete Keyframe | Del | | Display Keyframe Position | D | | Enable Solo Mode for Current Parameter | S | | Go to Default Keyframe | Home | | Go to Last Keyframe | End | | Increase Keyframe Time (large step) | Shift+Right arrow | | Increase Keyframe Time (small step) | Right arrow | | Increase Keyframe Value (large step) | Shift+Up arrow | | Increase Keyframe Value (small step) | Up arrow | | Reset View | Ctrl+V | | Select All Keyframes from All Parameters | Ctrl+Shift+A | | Select All Keyframes from Current Parameter | Ctrl+A | | Select Next Keyframe from All Parameters | Ctrl+Page up | | Select Next Keyframe from Current Parameter | Page up | | Select Next Parameter | Alt+Page down | | Select Previous Keyframe from All Parameters | Ctrl+Page down | | Select Previous Keyframe from Current Parameter | Page down | | Select Previous Parameter | Alt+Page up | | Snap Time To Previous Keyframe from All Parameters | Ctrl+Shift+Page down | | Snap Time to Default Keyframe | Shift+Home | | Snap Time to Last Keyframe | Shift+End | | Snap Time to Next Keyframe from All Parameters | Ctrl+Shift+Page up | | Snap Time to Next Keyframe from Current Parameter | Shift+Page up | | Snap Time to Previous Keyframe from Current Parameter | Shift+Page down | | Snap View to Selected Keyframes | F | | Toggle Parameter Visibility | H | ## Light Sensor Shortcuts | Description | Shortcut keys | | -------------------- | ------------- | | Add New Light Sensor | Ctrl++ | | Toggle View | V | ## Network Protocol Shortcuts | Description | Shortcut keys | | -------------------- | ------------- | | Create a New Message | Ctrl++ | | Duplicate Message | Ctrl+D | ## Network Switch Shortcuts | Description | Shortcut keys | | ------------------------ | ------------- | | Add Network Switch | Ctrl++ | | Duplicate Network Switch | Ctrl+D | | Send Command | Enter | ## Preview Window Shortcuts | Description | Shortcut keys | | ------------------------- | ----------------- | | Frame 2D Transform Handle | F | | Layer Mode | 2 | | Move Clip Down | Shift+Down arrow | | Move Clip Left (10x) | Left arrow | | Move Clip Left | Shift+Left arrow | | Move Clip Right (10x) | Right arrow | | Move Clip Right | Shift+Right arrow | | Move Clip Up (10x) | Up arrow | | Move Clip Up | Shift+Up arrow | | Move Clip down (10x) | Down arrow | | Multi-Preview Mode | 4 | | Preview 2D Mode | 1 | | Preview 3D Mode | 3 | | Reset View | R | | Show / Hide Clip | H | | Toggle Checker | C | | Toggle UV Preview | U | ## Profiler Shortcuts | Description | Shortcut keys | | ------------------------------ | ------------- | | Show Profiler Network Settings | Ctrl+Alt+N | ## Projector Devices Shortcuts | Description | Shortcut keys | | -------------- | ------------- | | Add Projectors | Ctrl++ | ## Settings Shortcuts | Description | Shortcut keys | | -------------------- | ------------- | | Copy Outputs Config | Ctrl+C | | Paste Outputs Config | Ctrl+V | ## Shortcut Keys Menu Shortcuts | Description | Shortcut keys | | --------------------- | ------------- | | Search Shortcuts List | Ctrl+F | ## Time Code Shortcuts | Description | Shortcut keys | | ---------------------- | ------------- | | Create a New Time Code | Ctrl++ | | Toggle View | V | # 1. Prerequisites # 1. Before Starting PHOTON ### Requirements for PHOTON Windows 7 (and above) NVIDIA GPU ## 1.1 PHOTON Installation After retrieving the installer (.exe) — downloaded from our website, or sent to you by a PHOTON Specialist — double click on the (.exe) file. (You might have to answer a Windows security question. Choose the destination folder (it is usually C:\VYV or P:\VYV). Click on the \[Install] button, wait for the installation process to complete, and then click on the \[Close] button. ## 1.2 VYV Network Assistant Installation The VYV Network Assistant is an external tool that runs independently of PHOTON. It allows you to: * manage the version of PHOTON you are using; * install and uninstall different versions of PHOTON; * manage your PHOTON Projects; * start PHOTON with arguments (for example, no UI or no splash screen on startup); * restart PHOTON; * quit PHOTON; * reboot the server; * shutdown the server. {% hint style="info" %} All of the above actions can be propagated across the network on any number of connected servers. {% endhint %} The VYV Network Assistant makes it possible to automatically launch a specific version of PHOTON and start a specific project after Windows boots. 1. After retrieving the installer (.exe) — downloaded from our website, or sent to you by a PHOTON Specialist — double click on the (.exe) file. (You might have to answer a Windows security question.) 2. Choose the destination folder (it is usually C:\VYV or P:\VYV). 3. Click on the \[Install] button, wait for the installation process to complete, then click on the \[Finish] button. A prompt window will open right away, asking you to start the VYV Network Assistant. {% hint style="info" %} The VYV Network Assistant needs to be manually installed on all servers. {% endhint %} ![](/files/-LfVjML0gE9hSG9JTLsk) ## 1.3 Network Configuration PHOTON servers need to be assigned static IP addresses and must reside on a dedicated network. All of your servers should be connected to a network switch. Make sure your servers and network switch share the same network prefix and subnet number (the first 3 octets in the IP address). The network switch’s host number (last octet in the IP address) should be 1. The network switch will probably use a browser-based interface to allow parameter modifications. The host numbers for the servers can range from 2–254. Make sure that the network interface you are using is the first one being accessed by Windows’ network services. In order to do this: 1. Go to {Control Panel > Network and Sharing Center > Change Adapter Settings}; 2. Press the \[Alt] key to display the Advanced menu; 3. Select {Advanced > Advanced Settings}. The Advanced Settings window (Adapters and Bindings tab) will display the network interfaces list. You can change the order of the network interfaces by selecting them individually and pressing the up/down arrows. ## 1.4 Remote Install/Uninstall After all of the servers are communicating on the same network and have fully functional versions of the VYV Network Assistant installed, you will be able to execute the following actions on all servers from one server using the VYV Network Assistant’s interface. The PHOTON versions directory is located under …\VYV\PHOTON\versions\\... ### 1.4.1 Install a new version of PHOTON 1. Select the servers you want to install the new version of PHOTON onto by checking the boxes located on the left side of the Systems list. 2. When selected, the servers will be identified by a green check mark. The server you are using as the control interface will have (LOCAL) in front of its name..Select {Tools > Remote Install...} from the menu bar or press \[Alt+I] to open the Remote Installation pop-up window. 3. Press the \[...] button to open a Windows file dialog. 4. Select the PHOTON installer (.exe) and press \[Open]. A confirmation box will appear showing the list of servers where you will remotely install PHOTON. (see img) 5. Press \[Yes] if you want to proceed, or \[Cancel] if you don’t. Installation progress will be indicated in the Status column. The newly installed version of PHOTON will be available in the System Configuration pop-up window. ![](/files/-LfVjML1_OehwVngOFki) ### 1.4.2 Uninstall a version of PHOTON 1. Select the servers targeted for the uninstall PHOTON process by checking the boxes located on the left side of the Systems list. 2. When selected, the servers will be identified by a green check mark. The server you are using as the control interface will have (LOCAL) in front of its name. 3. Select {Tools > Remote Uninstall...} from the menu bar or press \[Alt+U] to open the Remote Uninstall pop-up window. (see img) 4. Select PHOTON in the {Product} dropdown menu. 5. Select the PHOTON version you want to uninstall from the {Version} dropdown menu. 6. A confirmation box will appear showing you the list of servers targeted for the Remote Uninstall process. Press \[Yes] if you want to proceed, or \[Cancel] if you don’t. ![](/files/-LfVjML2fo-ofnADgfKJ) ## 1.5 Project Configuration Project configuration will allow you to select which version of PHOTON will run on your Server Group. It will also allow you to create new PHOTON Projects or load previous ones. A PHOTON Project consists of an independent set of folders that contain important files such as media content, 3D models, saves, and various configurations targeting network and third party hardware. Keep in mind that a new Project will not have access to the files used in previous Projects. Once you have selected the desired configuration options (see below), press \[Apply] to propagate the changes over the network or \[Cancel] to discard them. {% hint style="info" %} The PHOTON Project directory is located under …\VYV\PHOTON\projects\\... {% endhint %} #### Configuration Procedure 1. Select the servers you want to configure by checking the boxes located on the left side of the Systems list. Project configuration will be pushed via the network to all of the selected servers. 2. When selected, the servers will be identified by a green check mark. The server you are using as the control interface will have (LOCAL) in front of its name. 3. Select {Tools > Configure...} from the menu bar or press \[Alt+C] to open the System Configuration pop-up window. 4. Select PHOTON in the {Product} dropdown menu. ![](/files/-LfVjML3It98tRV3UmYr) If you want to create a new PHOTON Project: * select {New…} at the top of the {Project} dropdown menu; * type the name of your Project in the text box. If you want to load an existing PHOTON Project: * select the Project you want to use from the {Project} dropdown menu. #### Launch PHOTON with Arguments An argument instructs PHOTON to perform special operations when the program is launched. Arguments can be selected in the System Configuration window. 1. Select {Tools > Configure…} from the main menu or press \[Alt+C] to open the System Configuration window. 2. Arguments can also be manually typed into the Arguments text box, or added by pressing the \[+] button. The \[+] button will prompt the Command Line Arguments pop-up window. 3. Select the desired arguments from the list by checking their boxes. When selected, the arguments will be identified by a green check mark. This will push the selected arguments to all of the servers via the network. ![](/files/-LfVjML40NCV2F4xpI4t) **Available Arguments** **Hide User Interface (UI) on Startup** The UI will not appear on startup, but it can be accessed by pressing the \[Tab] key. This option might be useful if your server is a Display Master Server and you are using all of its video outputs to display video content. **Keep Taskbar** The Windows taskbar usually disappears when PHOTON launches and reappears when it is closed. Selecting the Keep Taskbar option will make the Windows taskbar available. **Keep Windows 7 Aero** By selecting this option, Windows 7 Aero functionality will not be deactivated when PHOTON is launched. This might impact performance, but Aero simplifies window capture during Teamviewer sessions. **Disable OptiTrack Cameras** Disabling OptiTrack cameras will prevent PHOTON from accessing the OptiTrack library and discovering the networked cameras. This might be helpful in a troubleshooting situation, where the computer vision system needs to be isolated. **Disable Splash Screen** This option will prevent PHOTON’s splash screen from being displayed on startup. #### VYV Network Assistant Autolaunch If you want the VYV Network Assistant to automatically start after Windows launches, check the box in front of “Run Network Assistant on System startup” (a green check mark will appear). #### PHOTON Autolaunch If you want PHOTON to automatically start after the VYV Network Assistant launches, check the box in front of “Run Local Target when Network Assistant starts” (a green check mark will appear). #### Autolaunch and Shutdown Delays If you want to delay PHOTON’s launch after the VYV Network Assistant’s boot procedure, change the value (seconds) in the Run Local Target Timeout(s) slider. This could be useful, for example, if you have network latency problems (i.e. the network switch is slow to wake up). {% hint style="info" %} This timeout is only applied if PHOTON is auto-launched using parameters set by the VYV Network Assistant. {% endhint %} If you want PHOTON to shutdown after the VYV Network Assistant’s launch, change the value (seconds) in the Quit Local Target Timeout(s) slider. This could be useful, for example, if the Project you are working on uses a lot of memory and needs more time to complete a Default Save procedure. {% hint style="info" %} When PHOTON quits, the software automatically saves in the Default Save file ([see Section 2.11 Saving Methods in Chapter 1 Prerequisites).](/user-guide/1.-prerequisites/2.-fundamentals-of-photon-and-its-user-interface#2-11-saving-methods) {% endhint %} {% hint style="info" %} This timeout is only applied if PHOTON quits by means of a command sent by the VYV Network Assistant. {% endhint %} ## 1.6 Graphic Card Configuration NVIDIA’s Mosaic technology allows you to create a large virtual canvas with all of the displays that are connected by combining them into one large screen. This larger unique canvas reduces the impact on performance when using 2D or 3D applications in a multi-display situation. PHOTON will still be able to identify each video output as an individual screen. {% hint style="info" %} NVIDIA Mosaic is a requirement for maximum performance when using PHOTON. {% endhint %} Follow the steps listed below to build a Mosaic display group. ### 1.6.1 Before Opening the NVIDIA Control Panel {% hint style="info" %} Even though Quadro cards have 5 connectors, only 4 will work at the same time. {% endhint %} 1. Physically connect your video displays (projectors, monitors, LED screens, etc.) to the server. 2. Make sure the video signal goes to all of the displays by changing the Windows desktop color: 1. Click on the \[Windows Start] button and select {Control Panel > Personalization}; 2. Select Desktop Background at the bottom of the window; 3. Select Solid Colors from the {Picture Location} dropdown menu and choose a bright color; 4. Press \[Save Changes] if you want to keep the color, press \[Cancel] if you want to return to the previous color; 5. You should see bright color in all displays. {% hint style="info" %} When PHOTON starts the desktop background will automatically turn black. {% endhint %} 1. You can also check the Windows display settings to make sure all of your displays are recognized. 2. Right-click anywhere on the Windows desktop background and select Screen Resolution in the contextual menu, or click on the \[Windows Start] button and select {Control Panel > Screen Resolution}. 3. You should see all of the displays that are connected. Display numbering starts at 1. ![](/files/-LfVjML5yzIbtpp_9HPi) This window allows you to: * reorder the screens by drag and drop; * change the resolution of each screen; * change the orientation of each screen; * choose how the screen behaves (it should always be in Extend Mode); * choose the main display (the one with the Windows taskbar). Make sure all of your displays are set at a resolution recognized by Windows, and that they are all in Extend Mode. (Make sure the screens are not cloning one another.) ### 1.6.2 Open the NVIDIA Control Panel 1. Right-click anywhere on the Windows desktop background and select NVIDIA Control Panel from the contextual menu, or click on the \[Windows Start] button and select {Control Panel > NVIDIA Control Panel}. ### 1.6.3 Manage 3D Settings 1. Make sure the driver settings are correct. 2. Select {Manage 3D Settings} in the “Select a Task…” list under {3D Settings}. Make sure the Global Settings tab is selected. 3. Select “Workstation App - Dynamic Streaming” in the {Global Presets} dropdown menu. 4. In the Settings list below: 1. set the Power Management Mode to “Prefer maximum performance”; 2. set Triple Buffering to “On.” 5. If you make any changes press the \[Apply] button on the lower left side of the panel. ![](/files/-LfVjML6aRZWa2mgCege) ### 1.6.4 Change Resolution 1. Select {Change Resolution} in the “Select a Task…” list under {Display}. 2. You should see all of your connected displays represented as small icons that look like monitor screens. By selecting these icons you can adjust the resolution, refresh rate and depth of color for each video output. Make sure that all of your video outputs have the **same parameters.** 3. If you make any changes press the \[Apply] button at the lower left side of the panel. An “Apply Changes” confirmation box with a 17-second timeout will appear. Press \[Yes] to apply changes, or \[No] to cancel changes. {% hint style="info" %} To set up a Mosaic display group all of your video outputs must be set at the same resolution and refresh rate. {% endhint %} ![](/files/-LfVjML78R-jP48P-vuH) ### 1.6.5 View System Topology 1. Select {View System Topology}. The Quadro cards feature Extended Display Identification Data (EDID) management. (Please refer to for more info.) EDID management allows you to force a similar behavior on all of your video outputs by pushing the same manufacturer metadata onto them. This will allow you to hot swap displays without breaking the Mosaic configuration, while facilitating its creation. ![](/files/-LfVjML8xSDcJux4dU3y) 1. Select {View System Topology} in the “Select a Task…” list under {Workstation}.Select any of the EDID links in the Settings column of the 2. System Topology table. This will prompt a Manage EDID window with 3 tabs: #### Export Export will allow you to grab the EDID in a (.txt) file from a display connected to the graphic card. 1. Click on the Export tab. 2. In the Select Connector to Export EDID list, select the display from which you want to export the EDID. 3. Press the \[Export EDID] button at the bottom of the window\.A Save As Windows file dialog will prompt you to select the destination where the file will be saved. 4. Name your text file. Give it the same name as the display. 5. Press the \[Save] button. #### Load The Load tab will allow you to load the EDID onto all of the selected displays, forcing all of the video outputs to use the same manufacturer metadata. 1. Click on the Load tab. 2. Press the \[Browse] button at the top of the window. 3. An Open Windows file dialog will prompt you to select the EDID file (.txt) you want to load. 4. Press the \[Open] button. 5. In the Select Connector to Force EDID list, select the displays you want to load the EDID onto by checking the boxes beside their name. 6. Press the \[Load EDID] button. 7. You will see a black flash in the connected displays. 8. A pop-up will confirm the Load procedure was successful. 9. Press the \[OK] button. {% hint style="warning" %} Don’t load EDID in video outputs that aren’t connected to a display. It can create ghost video outputs**.** {% endhint %} #### Unload The Unload tab allows you to remove a Forced EDID from the selected video outputs to regain the original display’s metadata. 1. Click on the Unload tab if you wish to do so. 2. In the Select Connector to Unload EDID list, select the displays you want to unload Forced EDIDs by checking the boxes beside their name. 3. Press the \[Unload EDID] button. 4. You will see a black flash in the connected displays. 5. A pop-up will confirm the Unload procedure was successful. 6. Press the \[OK] button.Once all of the connected video outputs have the same EDID, go back to Change Resolution. Make sure each display has the same resolution and refresh rate. {% hint style="info" %} If you use HDMI connectors, make sure all video outputs are set at Full in the {Output Dynamic Range} dropdown menu. {% endhint %} **1.6.6 Set Up the Mosaic Display Group** Now you are ready to set up your Mosaic display group. 1. Select {Set Up Mosaic} in the “Select a Task…” list under {Workstation}. 2. Click the Create new configuration link. This will open the NVIDIA Mosaic set up window. ![](/files/-LfVjML9WEKeOtTzGALC) Follow the next 5 steps to create your Mosaic display group: #### 1. Select Topology 1. Select the number of displays you want to include in the Mosaic display group with the help of the dedicated dropdown menu. **You must include all of your available video outputs in the Mosaic configuration.** 2. Select your Topology — how the displays will be positioned on the grid — with the help of the dedicated dropdown menu. **Always use a single row topology (1 X ...) because PHOTON works through horizontal screen spanning.** 3. Select the display Orientation with the help of the dedicated dropdown menu. **Always use Landscape even if your project includes rear projections or projectors set up in portrait format. PHOTON will automatically manage these cases.** 4. If your screens are listed correctly and placed in the right order you can immediately check the box next to “I am using the recommended connections for the selected topology” and press the \[Enable Mosaic] button. This will open the “Apply Changes” confirmation window. If the Mosaic display group seems to be set up correctly, click on the \[Yes] button. You should be ready to launch PHOTON now. If not, click on the \[No] button and go through the next steps. #### 2. Select Displays 1. All of the available displays listed underneath “Displays for Mosaic” should already be checked. If not, check the boxes next to their names. 2. Select the desired refresh rate in the {Refresh Rate} dropdown menu. 3. Select the desired resolution in the {Resolution Per Display} dropdown menu. 4. Press the \[Next] button. #### 3. Arrange Displays 1. Arrange your displays by dragging them from the top of the panel to the white rectangles located in the bottom section. This will set their placement in the Mosaic large canvas. 2. You can also type the display numbers into the white rectangles and press \[Enter]. (Each display is identified by the large number in the top-left corner.) #### 4. Numbering As mentioned above, displays are identified by numbers. The numbers indicate the order in which the displays are connected to the graphics card: display #1 is connected to the output port closest to the motherboard, display #2 is connected to the next output port, and so on. This system for prioritizing displays by using numbers that represent their proximity to the motherboard applies to the other output ports as well. The small-number pairs displayed in the lower-left corner of the displays represented are another element of this prioritization system. The first number (before the comma) represents the hierarchical position of the graphics card (starting at 0). The second number (after the comma) represents the hierarchical position of the output ports on the graphic card (starting at 0). 1. When the displays are in the correct order, press the \[Apply] button. An “Applying Changes” loading bar will appear, and you will see a black flash in all of the connected displays. (This might take a while.) 2. An “Apply Changes” confirmation window will appear. Press \[Yes] to apply, or \[No] to cancel. 3. The upper section of the window, where the drag and drop displays were initially placed, will have changed. A pop-up window should tell you that the “Mosaic is enabled.” 4. You can still reorder the displays by dragging and dropping them, but you will have to go back and Apply Changes again. 5. The Mosaic display group’s maximum resolution will be written near the bottom of the window. 6. Press the \[Finish] button. (Don’t press \[Next].) #### 5. Adjust Overlap and Bezel Correction Do not adjust overlap and bezel because PHOTON will take care of these issues while calibrating. #### 6. Confirmation 1. The Set Up Mosaic window will have changed, and will present a summary of the current Mosaic configuration. If you wish to make changes, use the \[Modify] button or the \[Disable] button. 2. You can also find out if the Mosaic display group is recognized in the Windows display settings. Right-click anywhere on the Windows desktop background and select {Screen Resolution} in the contextual menu, or click on the \[Windows Start] button to access {Control Panel > Screen Resolution}. 3. You should see a single monitor representing all of the connected displays. It should be #1. 4. Now you have a Mosaic display group and you are ready to launch PHOTON. ## 1.7 Launch/Quit PHOTON VYV recommends using the VYV Network Assistant to launch or quit PHOTON. 1. Begin by launching the VYV Network Assistant. 2. Once the VYV Network Assistant window is open, select the servers you want to affect by checking the boxes situated on the left side of the Systems list. When selected, the servers will be identified by a green check mark. The server you are using as the control interface will have (LOCAL) in front of its name. ### 1.7.1 Launch PHOTON * Press the \[Restart Program] button at the bottom of the VYV Network Assistant window. This action will remotely start or restart PHOTON on all of the servers selected in the Systems list. ### 1.7.2 Quit PHOTON * Press the \[Quit Program] button at the bottom of the VYV Network Assistant window. This action will remotely shutdown PHOTON on all of the servers selected in the Systems list. {% hint style="info" %} When PHOTON is running you might have to press \[Alt+Tab] to bring the VYV Network Assistant back in order to simultaneously quit the application on all servers. You can also bring the VYV Network Assistant back by using a button in the Settings module Network tab. {% endhint %} {% hint style="info" %} When PHOTON quits, the software is automatically saved in the Default Save file ([see 2.9 Saving Methods in Chapter 2 Prerequisites](/user-guide/1.-prerequisites/2.-fundamentals-of-photon-and-its-user-interface#2-11-saving-methods)). {% endhint %} {% hint style="info" %} While PHOTON is shutting down you will see a Windows console prompt. Don’t shut it down. You will crash the system and prevent PHOTON from creating a Default Save file. {% endhint %} ## 1.8 Reboot/Shutdown Servers * Select the servers you want to reboot or shutdown by checking the boxes located on the left side of the Systems list. When selected, the servers will be identified by a green check mark. The server you are using as the control interface will have (LOCAL) in front of its name. ### 1.8.1 Reboot * Press the \[Reboot System] button at the bottom of the VYV Network Assistant window. This action will remotely reboot all of the servers selected in the Systems list. ### 1.8.2 Shutdown * Press the \[Shutdown System] button at the bottom of the VYV Network Assistant window. This action will remotely shutdown all of the servers selected in the Systems list. # 2. Fundamentals of PHOTON and its User Interface {% embed url="" %} Quick tutorial {% endembed %} ## 2.1 User Interface Visibility By default PHOTON’s interface will not be visible on start-up. This is due to the fact that on some configurations (when the Display Master operation mode is selected) every physical output of the graphic card will be used to display content. ![](/files/-LgckqLG7RZIcyehDU_J) * Press \[Tab] to hide or view PHOTON’s UI. ![](/files/-Lgckss7-h1qYdtD9Lqx) ## 2.2 Layer Rendering Order In PHOTON, the rendering order is organized from top to bottom. This means the lowest item in the list will always be the last one rendered, and as a result it will be placed on top of the composition. This applies to both the Timeline module (where compositing is done) and the 3D Scene list. It is important to remember that the logic of PHOTON’s rendering order is the inverse of Adobe’s image compositing applications. ## 2.3 Virtual and Physical Screens PHOTON has been designed to facilitate the creation of shows that involve complex programming, signal distribution and display of video content, and also include interactions with various sensor feeds or external devices. A key characteristic of a powerful, efficient and easy to use software designed specifically for video projection in stage productions should be to represent reality as accurately as possible. Therefore, PHOTON is based on a virtual representation of a physical stage’s three-dimensional space and its components. The virtual counterparts of projectors, screens, LED displays, lighting fixtures and stage props can be found in the 3D Scene module ([see Section 2 3D Scene in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/02.02-3d-scene)). The properties of the virtual components included in the 3D Scene can be manipulated so they will perfectly match their physical counterparts. Notably, it is through the creation of these correlations that PHOTON is able to apply geometric corrections on a video feed to match the positioning and orientation of projectors and screens during a stage production. This particular approach explains a lot about the software’s structure. In a PHOTON project, technical components coexist in different ways (physical and virtual), but also across different modules in the software. PHOTON Screens are a perfect example of this, in that they act as pivot points between different PHOTON modules and the stage space. Screens simultaneously correspond to: * physical screens in the stage space; * virtual representations of the physical screens in the 3D Scene module; * content assignation structures in the Timeline module. Screens in the Timeline can hold many layers, where multiple media clips can be placed sequentially. Whenever a new Screen is created in the 3D Scene, it will create its own dedicated content assignation structure in the Timeline. This impacts the way video content is produced, programmed and shown. Instead of working in one large video space that will be cut up for many projectors, you work directly on separate Screens. Placing a media file on the Timeline in a Screen will automatically display the file’s content on its physical counterpart. ![](/files/-LhLOOOBPpDdCezVdK6z) ## 2.4 Internal and External Data Exchange PHOTON’s parameters and their corresponding UI representations (such as sliders and number boxes) have been designed to support mapping internally (across the software) and externally. Data sent from one point to another can be intercepted and changed using a mathematical function. For example, it could be rescaled for a new context. Data can also be wrapped and sent through various protocols (UDP, PSN or MIDI) so they will be accepted by a wide variety of devices and software. PHOTON’s Mapping Manager module is dedicated to data exchange. Through a series of tables you will be able to map scaled data from UI components, an external keyboard, or MIDI and OSC devices directly to any other UI component (see Section 9 Mapping Manager in Chapter 4 Programming a Show). UI components can also be linked to time-based markers and then animated through PHOTON’s Keyframe Editor (see Section 8 Keyframe Editor in Chapter 4 Programming a Show). PHOTON’s FX Editor module can also be the place where you will connect data generated by a portion of the system to an effector situated elsewhere through a dataflow visual programming environmentSome of the FX Editor module building blocks can access the properties of objects created in the 3D Scene as well as tracking data generated by ALBION. ## 2.5 Metric System Only The Metric System is the only system of measurement used in PHOTON. Each square of the 3D Scene grid is a square meter. To get accurate readings in the 3D Scene’s Projection Study mode, all of the 3D objects need to be declared in meters. All of the readings the software provides, all of the transformations it performs and all of the data linked to stage automation will also be expressed using the Metric System. VYV will never provide or accept translations to Imperial units of measurement because the Imperial system is considered obsolete by most authorities. {% hint style="info" %} The meter is the length of the path travelled by light in a vacuum during an interval of 1/299,792,458 of a second. {% endhint %} ## 2.6 Real-Time Everywhere PHOTON was built entirely on real-time processes. Since our product is mainly used for live multimedia productions, we focused on building a system that specializes in real-time delivery, and is able to adapt to on-the-spot changes that characterize this type of presentation. Interactivity is at the very core of PHOTON, which makes it stand out amongst other media servers. All parameters are exposed and can be changed without any rendering time, making PHOTON an ideal tool when instantaneous action is required. At VYV it is against our philosophy to limit the user in any way. This means there is no cap to the number of modules, media files and treatment processes a user can deploy in a PHOTON Project. However, this means it is the project programmer’s responsibility to ensure that the system’s frame rate does not drop below a specific threshold. (Depending on the circumstances, this could mean 60, 50, 30, 25 or 24 fps.) ## 2.7 Normalized Values Most of the UI components in PHOTON, such as sliders, are normalized so their values range from 0. to 1.. We decided to normalize values in this way to facilitate data exchange between modules and data treatment using mathematical functions. One of the notable exceptions to this rule is the measurement of degrees, which range from 0. to 360.. ## 2.8 UI Components Lexicon A few terms describing UI components will be used regularly throughout PHOTON’s technical documents. Some of the terms might be self-explanatory; others have a meaning that is specific to PHOTON’s UI. We decided it would be best to provide definitions for all of them. ### Module A module denotes a structure in PHOTON dedicated to a group of similar tasks. For example, the I/O Module is dedicated to the exchange of data between PHOTON and external third-party devices. Along with the underlying methods, routines and behaviors dictated by the code’s structure, a module will always have its own window containing various widgets such as sliders, toggles, menus, and checkboxes that allow the user to modify parameters, launch tasks, etc. * Modules can be accessed through the File, System and Show dropdown menus or through shortcuts beginning with the \[Alt] key. ![](/files/-LgclJz3pocJAP37ViWn) ### Window A window is a rectangular frame that contains various widgets such as sliders, toggles, menus and checkboxes that will allow the user to modify parameters, launch tasks, etc. Windows can be divided in sections or can contain tabs. * To select a window and focus on one of its components, \[Left-Click] anywhere inside it. When selected, the window frame will turn red. * To move the window around, \[Alt+Click-Drag] inside the window. * If you launched a module but the window does not seem to appear, press \[F3]. PHOTON will redraw all windows. * To minimize a window, left-click on the minus sign located at the top right corner of the window. * To maximize a window, left-click on the plus sign located at the top right corner of the window. * To close a window, left-click on the x sign located at the top right corner of the window. ![](/files/-LgclTD9wBA6iZHjXvXP) ### Window Section A window section is a subdivision of a window used to regroup widgets that are meant to work in conjunction with the execution of a task. For example: a list of clickable items and a button used to add items in the list would be located in the same window section. Window sections are generally preceded by a title and are delimited by a faded rectangular frame. ![](/files/-LgcoheXP7dLlVHiNbf4) ### Tab Some modules encompass more features than others. Windows tied to these modules will usually feature tabs: clickable components that facilitate switching between different panels. Panels accessible through tabs regroup coherent sets of widgets targeting a specific aspect of their module. * Tabs located in the I/O Manager window feature a small pin icon. * These tabs can be “unpinned” from the module’s window and displayed in an independent window by a \[Left-Click] on the pin icon. ![](/files/-LgcwDTE8sI8D870K8aY) ### List Lists are structured unidimensional sets of items. In PHOTON, the items contained in a list are identified by faded gray rectangles containing the item’s name or ID. The items usually support various interactions. They can be re-ordered through click-drag. A right-click on a list item will open a contextual menu offering various options. ![](/files/-LgcqfOoMXa5Bc3BpeoW) ### Main Menu Main menus are located at the very top of PHOTON’s main window (the black background that exists independently from the other modules). They either provide access to the software’s various modules or allow the user to perform operations like saving their current project. ![](/files/-LgcrGPZx9NP_rnqWb7A) ### Dropdown Menu A dropdown menu appears as a white rectangular frame with a name or a currently selected option written in white. A downward or right pointing arrow will indicate that the menu is clickable and will provide the user with many options. ![](/files/-LgcrPuGMy9UJ0D-Ogs1) ### Contextual Menu Contextual menus are activated by performing a right-click on a UI component such as an item in a list or a slider. Contents of a contextual menu will vary depending on the nature of the UI component affected by the right-click. ![](/files/-Lgcwwd1S9GmIKr4IaKO) ### Slider Sliders are either unidimensional or bidimensional widgets used to graphically and numerically represent the value set for a parameter. They are discussed in more detail later in this section of PHOTON’s technical documents ([see Section 2.11 Slider Types and Behaviors in Chapter 1 Prerequisites](/user-guide/1.-prerequisites/2.-fundamentals-of-photon-and-its-user-interface#2-12-slider-types-and-behaviors)).
### Toggle A toggle is a widget that allows the user to set a parameter’s Boolean value (On/Off). Represented by a clickable rectangular frame, toggles are often used to indicate whether or not a particular option is activated. If an option is activated, the toggle’s rectangular frame will be highlighted. ![](/files/-Lgcs3KJxDeynr-UEwBP) ### Button Buttons are widgets that can be clicked. They are used in various ways and their functions are represented by icons or names. ![](/files/-LgctpgH_8e0AvQwyTjA) ### Checkbox Checkboxes are used in conjunction with items in a list to indicate if they are selected to be inside or outside a set before applying an operation. ![](/files/-LgcsEEus5U8l4GTY5c1) ## 2.9 Renaming Labels Most item labels can be renamed in PHOTON. There are two methods for renaming labels: * **Double-click** to put the slider in edit mode, which lets you type in the desired name; or, * **Single-click** to focus on the item label and then press \[F2] to put the slider in edit mode, which lets you type in the desired name. ![](/files/-LgcsSIZBO4qsC664oKa) ## 2.10 Main Menu Bar PHOTON’s Main Menu Bar provides access to the software’s main modules. The modules are categorized based on their functions. * Use the Main Menu Bar to gain access to the various modules that will allow you to build a PHOTON project. ![](/files/-LgcrGPZx9NP_rnqWb7A) ## 2.11 Saving Methods Saving in PHOTON may differ in some ways from what you might be accustomed to in other software. PHOTON’s Default Save {File > Save Default} writes in the main memory slot used for backing up a PHOTON Project’s files (using the .phd file extension). The Default Save is automatically loaded when PHOTON starts. The Default Save is automatically overwritten when PHOTON quits. A new save is created in the same memory slot, with the project’s current data. {% hint style="info" %} All types of Saves strictly include PHOTON’s data. None of the media files or 3D objects will be backed up through any of the saving methods. {% endhint %} All saves will be located in ...VYV\photon\projects\current\_project\_name\config\\... * A PHOTON Save is divided into 3 files: * a .phd file (PHOTON Data) * a .io file (all the configurations of your input and output devices) * a .uuc file (UI configurations; your current Workspace) * There are 3 ways to save your PHOTON Project. * Save Default \[Ctrl+S] * Save Incremental \[Ctrl+Alt+S] * Save Project… \[Ctrl+Shift+S] * We recommend you to save regularly and use all of the methods. ### Save Default PHOTON uses the Default Saves as its standard way of backing up your progress while working on a project. * If you select {File > Save Default} or press \[Ctrl+S] the current state of your project will overwrite the file that was previously saved as the Default Save. Therefore, Default Saves are destructive. * By selecting {File > Load Default} or by pressing \[Ctrl+L] you will revert your project to the previous state that was saved in the Default Save. Furthermore, if you let PHOTON quit properly, by letting the Windows console finish its process, your project will automatically be saved as a Default Save. Note that the Default Save is also the save that will be loaded when PHOTON starts. ### Load Default 1. Select {File > Load Default} or press \[Ctrl+L] to load the version of the project currently saved in the Default Save memory slot. A Confirm Load Project dialog box will open and ask “Are you sure you want to reload the last default save?” 2. Click on the \[Yes] button to reload the last default save.Click the \[No] button if you decide to keep on working with your project in its current state. ### Save Incremental Save Incremental is the newest and fastest way to save. It incrementally creates new save files. * By selecting {File > Save incremental} or by pressing \[Ctrl+Alt+S] you will automatically create a saved project file without prompting a Windows file dialog. The save will be named as follows: ***Currentprojectname\_yyyymmdd\_hhmmss*** **Example: Myproject\_20180305\_185423** {% hint style="info" %} The date and time is determined by the local server’s operating system. {% endhint %} ### Save Project… The Save Project command lets you save specially named versions of your project when it’s in a state that you want to keep as a backup. * Selecting {File > Save Project...} or press \[Ctrl+Shift+S] to prompt a Windows dialog that lets you name the project save. Save Project is an inalterable step, a backup of your PHOTON Project’s data at a specific point, except if you manually delete it or choose to replace it. ### Load Project * Select {File > Load Project...} or press \[Ctrl+Shift+L] to prompt a Windows file explorer that lets you access previous versions of your project created through any of the save methods. * To load a previous version of your project, select the desired project file from Windows file explorer and click the \[Open] button. ## 2.12 Slider Types and Behaviors PHOTON uses three kinds of sliders depending on the type of data it needs to represent. ### 1D Slider Allows you to control a large variety of parameters in the software. This UI component’s value can be modified by sliding the bar horizontally within the defined zone. The 1D Slider can be edited in the following ways: * Left-Click+Drag changes the value within the hardcoded range. * \[Ctrl+Left-Click+Drag] changes the value, with the option to exceed the hardcoded range. * \[Shift+Left-Click+Drag] changes the value within the hardcoded range at a slower pace to achieve more precision (10 times slower). * \[Ctrl+Shift+Left-Click+Drag] changes the value at a slower pace (100 times), with the option to exceed the hardcoded range. * Double-Click puts the slider in edit mode and lets you type in the desired value. * Single-Click to focus on the slider, followed by \[F2] puts the slider in edit mode and lets you type in the desired value. ![](/files/-LfW4teZKcxhEWoiZNw8) {% hint style="info" %} Extended range and 100 times pace reduction only work with 1D Sliders. {% endhint %} ### 2D Slider Allows you to control a large variety of parameters in the software, such as size or position values. This UI component’s value can be modified by sliding the cross horizontally and vertically within the defined zone. The 2D Slider can be edited in the following ways: * Left-Click+Drag changes the value within the hardcoded range. * \[Shift+Left-Click+Drag] changes the value within the hardcoded range at a slower pace to achieve more precision (10 times slower). * Double-Click] puts the slider in edit mode and lets you type in the desired value. * Single-Click to focus on the slider, followed by \[F2] puts the slider in edit mode and lets you type in the desired value. * \[Tab] allows you to cycle your selection through the 2 values. ![](/files/-LfW4te_O5qciAsFXu5p) ### Time Slider The Time Slider allows you to control timing parameters in the software by sliding the bar horizontally within the defined zone. For example, it will allow you to modify the In and Out of clips and media. ![](/files/-LfW4tean8omQWCv1_HT) ![](/files/-LfW4tebWjcARz6YVRJv) The Time Slider can be edited in the following ways: * By clicking on the \[In] button, you will set the current time of the Timeline’s Playhead to the Time Slider. * Left-Click+Drag changes the value within the hardcoded range. * \[Shift+Left-Click+Drag] changes the value within the hardcoded range at a slower pace (10 times). * Double-Click puts the slider in edit mode and lets you type in the desired value. * Single-Click to focus on the Time Slider, followed by \[F2] puts the slider in edit mode and lets you type in the desired value. ![](/files/-LfW4tecy594I725ayQT) ![](/files/-LfW4tedRRB0DMs4Mh6l) In edit mode, the Time Slider can be affected by using the basic (+) and (-) math commands. * By inputting +n you will add n frames up to 99. For frames greater than 99., time will be segmented as hh:mm:ss:ff. * By inputting -100 you will remove 1 second 00 frames. ![](/files/-LfW4tee0ztBwe2VksFs) ![](/files/-LfW4tefEhkqCGkyKQp4) {% hint style="info" %} The Time Slider is the only slider to show this behavior. {% endhint %} # 2. Setting-Up a Show # 1. Settings ## 1.1 PHOTON Network One of PHOTON’s great strengths is its ability to use networking technology to operate simultaneously and transparently on multiple servers controlled from a single unit. The first step in creating a Project is to establish a Server Group. Once servers are assigned in a group, PHOTON automatically creates a ring network to maintain communication between each server. Servers within in a group will share media content, maintain communication and sync together. ### 1.1.1 Server Group Creation 1. Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. Make sure the PHOTON tab is selected. (see img 1) 2. You will now establish a Server Group. Click on the network ring button to open the Create Network Group window. A list located on the left side of the window will allow you to include or exclude servers from the group by checking or not checking their associated checkboxes. \ If PHOTON has been launched on all of your servers, and if the servers reside on the same network ([see Section 1.3 Network Configuration in Chapter 1 Prerequisites](/user-guide/1.-prerequisites/1.-before-starting-photon#1-3-network-configuration)), they should appear in the Photon Selection servers list located on the left side of the Settings window (while the PHOTON tab is selected).(see img 2) 3. Select the servers you want in the group by checking the boxes next to their name. When selected, the servers will be identified by a green check mark. 4. Click on the \[Apply] button to create a Server Group. 5. Once a Server Group is created, you should make sure the PHOTON Network is fully functional and that all of your servers are communicating properly. 6. Select {System > Network Monitor} from the main menu or press \[Alt+M] to open the Network Monitor module. This module displays information about each server in the Server Group. (see img 3) ![img 1](/files/-LfWAgNdWse6X9GGNPs7) ![img 2](/files/-LfWAgNe_Dt5JR7bBuJc) ![img 3](/files/-LfWAgNfJKEB034rTkTi) ### 1.1.2 Removing Servers from a Server Group 1. Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. Make sure the PHOTON tab is selected. 2. Select the server you want to remove from your current group by clicking on its name in the PHOTON Selection servers list. 3. Click on the remove from network ring button. A confirmation box window should appear in order to validate your selection. Click on the \[OK] button if you still want to remove the server from the group. 4. Repeat this operation until all of the servers you want to remove are not in the list anymore. 5. Once a Server Group has been modified you should make sure the PHOTON Network is fully functional and that all of your servers are communicating properly. 6. Select {System > Network Monitor} from the main menu or press \[Alt+M] to open the Network Monitor module. This module displays information about each server in your Server Group. ### 1.1.3 Remove and Shutdown PHOTON 1. This operation will remove a server from a group and shutdown PHOTON on the server.\ Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. Make sure the PHOTON tab is selected. 2. Select the server you want to remove from your current Server Group and shutdown by clicking on its name in the PHOTON Selection servers list. 3. Click on the ON/OFF button. A confirmation box window should appear in order to validate your selection. Click on the \[OK] button if you still want to remove the server and shutdown PHOTON. 4. Repeat this operation until all of the servers you want to remove are no longer in the Servers list. 5. Once a Server Group has been modified you should make sure the PHOTON Network is fully functional and that all of your servers are communicating properly. 6. Select {System > Network Monitor} from the main menu or press \[Alt+M] to open the Network Monitor module. This module displays information about each server included in your Server Group. ### 1.1.4 Multiple Server Groups Most projects will use a single Server Group. However, you might encounter situations where completely independent video installations co-exist within the same project. It is under these circumstances that multiple Server Groups should be considered. ### 1.1.5 Monitoring and Troubleshooting Once a Server Group is created you should make sure the PHOTON Network is fully functional and that all of your servers are communicating properly. * Select {System > Network Monitor} from the main menu or press \[Alt+M] to open the Network Monitor module. This module displays information about each server in your Server Group. The Network Monitor module provides feedback regarding resource usage (CPU, disk, RAM, VRAM), GPU performance (megabits per frame and temperature) and shows the project’s current frame rate output. ![](/files/-LfWAgNgKpfdQ1PMdtob) If a server is missing from the list, if its feedback cells are blank, or if the connection state cell shows a warning sign, it means communication problems are affecting the network. If such problems arise, you should check the following: #### Physical Network Connections Make sure the Ethernet cables are in good working order and are properly connected to the appropriate physical network interfaces. #### IP Addressing Make sure your servers coexist on the same network. Their IP addresses should share the same network prefix and subnet number (the first 3 octets in the IP address). #### Traffic Management Some network switches can filter out traffic, or a VLAN might have been set up on one of your servers. Make sure there is no interference of this kind on your network. #### Network Ports (within PHOTON) PHOTON uses specific network ports to synchronize data and transmit Show Control commands through a Server Group. Make sure the network ports on your servers match. On each server, select {Settings > Network tab} or press \[Alt+S] and select the Network tab. The window will display the port numbers corresponding to Time Sync, Data Sync and Show Control. Each of these port numbers should be the same across your Server Group; with each port you should see the same number for Time Sync, Data Sync and Show Control. If the port numbers don’t match, you can reset them to Default by clicking on the \[Reset] button or you can manually modify them by typing new values into their corresponding text boxes. If you change any of the port numbers, PHOTON will have to be restarted on all of the servers in the Server Group. Once this problem is identified and corrected, the server’s state will automatically change in the Network Monitor. ### 1.1.6 Network Ports PHOTON establishes Transmission Control Protocol (TCP) and User Data Protocol (UDP) communication between servers in a group order to allow multiple devices to act as a whole. Three different ports, each characterized by a specific function, are used by PHOTON: #### Time Sync Port This port is dedicated to PHOTON’s master clock. Current time (frame accurate) is sent from the primary server to the secondary servers so each device shares the same clock. #### Data Sync Port This port is dedicated to data exchange that corresponds to project structures, configurations and saves. #### Show Control Port This port is dedicated to show related commands such as cues. This port will be used by PHOTON to trigger events in the servers in the Server Group. This port might also be used by external devices or software for sending cues to PHOTON. ![](/files/-LfWAgNhPiD70E_8YIVm) ## 1.2 Server Operation Modes PHOTON features different Operation Modes which represent the functions linked to the roles assigned to each server in the Server Group. ### 1.2.1 Hierarchy A PHOTON Group is organized around a primary server which maintains synchronization and control over the remaining secondary servers. The primary server will also control or communicate with external devices such as projectors, lighting consoles or media matrices. Secondary servers are used to display images through their graphics card output ports. If for any reason the primary server is dropped out of the Server Group and another server isn’t set up to take its place, the server with the lowest number IP address will take care of the group’s synchronization and control. Even though a Server Group is driven by a central primary unit, a complete copy of the show’s data resides on every server. Therefore, each server acts like a backup unit (with one notable exception; see Controller and ALBION further on in this section). ### 1.2.2 Computer Vision In addition to this hierarchical relationship, VYV’s product line includes ALBION, a server specialized in advanced computer vision tasks such as the handling of tracking data. This unique product is linked to a specific Operation Mode. ### 1.2.3 Operation Modes Here are PHOTON’s Operation Modes: #### Controller The Controller is a primary server that controls secondary servers dedicated to media output. The Controller synchronizes the secondary servers and takes over their Timeline during show operations. If there is more than one Controller in the Server Group (this situation might arise if you have a backup unit), the secondary servers will be driven by the Controller that has the IP address with the smallest number. The Controller has access to external devices such as AV matrices and audio interfaces through its I/O Manager module. Low-resolution versions of the project’s media will be stored on the Controller because servers operating in this mode have to render content on all screens (Display Servers will only render content for screens that are visible to them). While a Controller does not feature any video output, its physical graphics outputs can be used to extend the UI on multiple screens. Using a Controller makes programming and operations significantly easier and is essential for stage productions. #### Display PHOTON Display Servers should be thought of as secondary units programmed and driven by a primary unit such as a Controller or a Display Master. While in Display mode, the server will store media at full resolution. Display Servers will only playback video content linked to screens that are assigned to its outputs in the 3D Scene Objects Visibility list (see Section 2.5 Projection Surfaces Visibility in Chapter 2 Setting Up a Show). #### Display Master The Display Master Server is a PHOTON Server mode that provides video content outputs while acting as a primary control unit at the same time. The Display Master mode should be viewed as a hybrid, combining aspects of the Controller and the Display Server modes. The Display Master Server will synchronize and control the Display Servers located on the network and will have access to other external devices such as AV matrices and audio interfaces through its I/O Manager module. The Display Master Server will also import and convert media in full resolution and will be able to output content for the screens that have been assigned to it. While it would be tempting to see this mode as a practical replacement for a Controller, keep in mind that using a Display Master Server comes with drawbacks related to overall system performance. Primary servers set in Display Master mode are usually found in simple installations, not large scale productions. #### Albion This mode specifically relates to servers that are dedicated to tracking data generation, treatment and transmission. These tasks include network camera stream acquisition and analysis, and the broadcast of the PosiStageNet (PSN) protocol. ALBION Servers do not provide video outputs and cannot import media (with the exception of 3D Models because they can be used for tracking). Therefore, ALBION Servers cannot act as a backup units. While a Controller can act as an ALBION Server, it is not recommended because the handling of synchronization and Show Control data might interfere with the smoothness of the tracking. ![](/files/-LfWAgNiSsR-BNDn2JZq) {% hint style="info" %} A Display 4K System Mode can also be accessed in the dropdown menu. It was created to support video output in quadrants as a way to adapt to early 4K video interfaces. It is now obsolete because all outputs on NVIDIA Quadro graphics cards can be set at 4K resolution. {% endhint %} ## 1.3 Camera Attribution and Server Modes Cameras are used by PHOTON to track optical markers and to perform real-time projector alignment and auto-calibration. OptiTrack cameras (the brand supported by VYV) can only be connected to one server at a time. You will have to decide how you want cameras to be accessed by the servers. * Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. * Click on the Control tab to access the {Albion Control} dropdown menu and the {Auto Calib Control} dropdown menu. This is where you will link cameras to specific servers. ![](/files/-LfWAgNjOok2RROwyxnS) Depending on the type of set up you have, there are 3 possible scenarios for camera attribution: #### Camera Segregation You might have 2 independent camera networks. One would be dedicated to tracking, the other to calibration. This can be done through VLANs or physically segregated networks. Make sure that the Controller and the ALBION Servers are each connected to the right camera network. Using the dropdown menus, select the dedicated ALBION Server underneath Albion Control and the dedicated Controller Server underneath Auto Calib Control. This type of set up is rarely deployed since, under most circumstances, cameras used during calibration can be easily re-assigned and can reinforce tracking when they are in the same group. #### Sequential Access You might have a single network where all of the cameras reside. If you are planning to use all of the cameras for both functions — tracking and calibration — you will need to manually change how they are assigned depending on which task is currently done. Before making changes you will have to calibrate the system. Using the dropdown menus, select the dedicated Controller Server for both Albion Control and Auto Calib Control. Once the calibration process is complete, you will have to select the ALBION dedicated server in both dropdown menus. #### Albion and Controller Running on the Same Server If you have a single camera network and plan to use the same server for both tracking and calibration, you will still have to let PHOTON know which server is linked to cameras. Using the dropdown menus, select the Controller Server for both Albion Control and Auto Calib Control. ## 1.4 I/O Control Attribution and Server Modes Once Server Modes have been attributed to devices, you will have to determine which server has access to the I/O Control Interfaces that facilitate information exchange with external devices. These interfaces are presented as tabs in the I/O Manager module: Art-Net, Network Protocol, Audio Analysis, Projector Devices and Matrix Switcher. 1. Select {System > I/O Manager} or press \[Alt+I] to open the I/O Manager window so you can monitor the state of the I/O Control Interfaces listed above. 2. Select {System > Settings} or press \[Alt+S] and click on the Control tab to access the I/O Control dropdown menu. 3. If the menu is set to “-default-”, the I/O Control Interfaces can be accessed by the server identified as a Controller. You can also access the I/O Control Interfaces by going to the dropdown menu and selecting a specific device from the Server Group. It is also possible to select the “-inactive-” option from the dropdown menu to cease all communications with external devices. ## 1.5 Windowing for the User Interface (UI) and the Video Outputs By default, a new PHOTON Project will automatically activate the Auto Window Creation and Draw Canvas View options on your servers. These options will affect windowing for the UI and the video outputs. Select {System > Settings} or press \[Alt+S] and click on the PHOTON tab to access both options, represented by toggles in the right side of the window. ![](/files/-LfWAgNko9Da7R7pmyOq) ### 1.5.1 Auto Window Creation This option (activated by default) forces PHOTON to automatically create video output windows through its graphic output cards. If you previously created a Mosaic display group using the NVIDIA driver (which is recommended by VYV for better performance), you have to disable this option. 1. Select the first server that features a Mosaic display group by clicking on its name in the PHOTON Selection servers list. 2. Click on the \[Auto Window Creation] toggle to deactivate the option (the toggle will fade). 3. Repeat this operation with all devices in the Server Group that feature a Mosaic display group. ### 1.5.2 Draw Canvas View By default, PHOTON Servers always use the first video output on their graphics card to display their UI. The server’s Operation Mode has no effect on this. (A Display Server or a Display Master Server will feature the same behavior.) If you wish to use this first output to display video content (which could turn a Display Server from a 3 or 7 video output device to a 4 or 8 video output device), you will have to deactivate Draw Canvas View on all of the targeted servers. 1. Select the first server that you want to strip of its UI by clicking on its name in the PHOTON Selection servers list. 2. Click on the Draw Canvas View toggle to deactivate the option (the toggle will fade). {% hint style="info" %} Keep in mind that even if you added a video output, the UI will still be accessible and will overlay the first output. {% endhint %} ### 1.5.3 Hide/Show the User Interface Locally * Press the \[Tab] key to turn the UI on or off, using the server that has keyboard control. ### 1.5.4 Hide/Show the User Interface Remotely * Select {System > Settings} or press \[Alt+S] and click on the General tab, under UI Options. \[Hide/Show Network UI] buttons will hide/show the interface remotely on all Display Servers and Display Master Servers. (A server set in Controller mode will ignore this command.) ## 1.6 Virtual Video Output Creation Once the Operation Mode and the proper windowing attributes have been applied to all devices in the Server Group, you will have to create your PHOTON Project’s video outputs. These virtual video outputs are the virtual counterparts of the physical outputs on the servers’ graphics cards. They are associated with video media delivery and should be connected to a physical display device such as a video projector, LED processor or video monitor. ### 1.6.1 Virtual Video Output 1. Select {System > Settings} or press \[Alt+S] and click on the PHOTON tab to access the Outputs window section. 2. Go to the PHOTON Selection servers list and select the first server that will be used to display video by clicking on its name (it will be a Display Server or a Display Master Server). 3. Once the server is selected you can add the virtual video outputs to it by clicking on the \[+] button in the Outputs window section. ![](/files/-LfWAgNl3q-2xtFhZgha) Whenever a new virtual video output is created, a confirmation box window will appear asking if you want to create a projector in the 3D Scene and link it to this output. The physical video display devices connected to your outputs are represented in a virtual space called the 3D Scene, which corresponds to the real-life stage where your PHOTON Project will be presented. {% hint style="info" %} The term “Projectors” applies to a wide variety of video displays, with the only exception being LED processors, which are represented by a different type of structure. {% endhint %} * If you are starting your PHOTON Project from scratch, you should accept the creation of new Projectors so your 3D Scene will already be populated. Click on the \[Yes] button to do so. ![](/files/-LfWAgNmKBXre8fKmGRR) * There are a few cases where you might want to add virtual video outputs without automatically creating projectors in the 3D Scene. Such cases would be the following: * video outputs are connected to LED processors; or, * projectors will be imported from another Project; or, * the current Project is built over a Projection Study and already has projectors in the 3D scene. If these conditions apply to you, simply click on the \[No] button and repeat this operation with every server in the PHOTON Selection servers list. #### Virtual Video Output Resolution for Display Servers and Display Master Servers Once all of the outputs have been created and correctly assigned, you have to set the resolution for each one. 1. The Settings window should already be open and the PHOTON tab selected. If not, select {System > Settings} or press \[Alt+S] and click on the PHOTON tab to access the Outputs window section. 2. If you didn’t create a Mosaic display group (see Section 1.6 Graphic Card Mosaic Configuration in Chapter 1 Prerequisites) and left the Auto Window Creation toggle enabled, which is not recommended, ([see Article 1.5.1 Auto Window Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-5-1-auto-window-creation)), you should be able to select the Output Resolution dropdown menu and Controller Resolution drop-down menu. 3. Select a Display Server by clicking on its name in the PHOTON Selection servers list. Select an output on the server by clicking on its name in the Outputs list. 4. Select the appropriate resolution (the one that matches the resolution of your Mosaic display group) from the Output Resolution dropdown menu and the Controller Resolution dropdown menu. #### Video Outputs Resolution for Controllers Since Controllers do not feature video outputs dedicated to media playback, these servers will only allow you to select a resolution from the Controller Resolution drop-down menu. * The Settings window should already be open and the PHOTON tab selected. If not, select {System > Settings} or press \[Alt+S] and click on the PHOTON tab to access the Outputs window section.
* Select the Controller Server by clicking on its name in the PHOTON Selection servers list. Select the appropriate resolution (the one that matches the resolution of your Mosaic display group) from the Controller Resolution dropdown menu. ### 1.6.2 Signal Routing Validation through Display Ident Once the virtual video outputs have been created, you should make sure that the signal routing and the projector assignation are correct. 1. Select {System > 3D Scene} from the main menu or press \[Alt+C] to open the 3D Scene module. 2. Select the calibration mode by using the toggle at the top right of the window or press the \[4] key (with the 3D Scene in focus). 3. Open the Options panel by clicking on the Settings button. 4. Enable the \[Display Ident] toggle. (see img) 5. This option will display a random solid color on all video outputs. Each generated image also features an inverted color border, 4 pulsating VYV logos, as well as the name of the output and the projector assigned to it. This will allow you to make sure the signal routing is OK. ![](/files/-LfWAgNnGkJ73oDRwYVo) ![](/files/-Lh0um1DgL5FpWjXK0Y5) {% hint style="info" %} Display Idents are rendered on top of everything and there is no automatic mechanism to disable them. Make sure you disable Display Indents manually when you are done with the signal routing testing procedure. {% endhint %} ### 1.6.3 Virtual Video Output Assignation Dropdown Menus Each of the virtual video outputs listed in the Outputs window section has an Assignation dropdown menu next to it. This dropdown menu links the virtual video output to a representation in the 3D Scene. ![](/files/-LfWAgNoBkmyTjqx6Az0) * If Projectors were automatically created while creating video outputs, the virtual video outputs listed in the dropdown menus will reflect the fact that they are already linked.
* If you want to set the assignation of a video output to a corresponding 3D Scene virtual display, use the dropdown menu to select the desired virtual output Primitive. ### 1.6.4 Video Output Assignation and Backup Servers If your Server Group includes a device dedicated to being a Display Server or Display Master Server backup unit, you should plan ahead, and automate switches in projector attribution in order to seamlessly recuperate the outputs driven by the failing server. The following steps should be complemented by Video Matrix cue recording (see Section 5.8 Video Matrix Control in Chapter 2 Setting Up a Show) 1. Select the backup unit by clicking on its name in the PHOTON Selection servers list. 2. Create the first virtual video output for your backup unit by pressing on the \[+] button in the Outputs window section. 3. When prompted by the confirmation box window to create a Projector in the 3D Scene, click on \[No]. 4. Create as many virtual video outputs on the backup unit as there are on your typical Display Server. 5. Record a cue with all of your virtual video outputs set to {no output}. ([See Section 1.2 Cue Recording in Chapter 4 Programming a Show](/user-guide/4.-programming-a-show/cue-editor#1-2-cue-recording).) 6. Record a cue with all of your virtual video outputs set to the Projectors linked to the first Display Server you want to use as a backup in case of failure. ([See Section 1.2 Cue Recording in Chapter 4 Programming a Show.](/user-guide/4.-programming-a-show/cue-editor#1-2-cue-recording)) 7. Repeat the previous step with the remaining Display Servers. # 2. 3D Scene The 3D Scene module is used for integrating video outputs (such as projectors), video inputs (such as cameras), screen surfaces and stage automation devices in a virtual representation of the real-world stage space. It is through manipulations of this virtual stage space (the 3D Scene) that operations such as camera calibration, screen surfaces tracking, projection calibration and blending will be made possible. {% hint style="warning" %} Tasks and operations described in this section of the manual mainly have to do with the binding between the real-world stage space and the virtual stage space as it is represented in PHOTON. Naturally, if you want to see actual results in the real world, Displays (such as video projectors or monitors) must be connected to the Video Output Ports, and you have to declare all of your project’s Virtual Video Outputs in the Settings module ([see Section 1.6 Virtual Video Outputs Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-6-virtual-video-output-creation)). {% endhint %} ### 2.0.1 3D Scene Lexicon Throughout this section of PHOTON’s technical documents the following terms are regularly used: **Display**\ Displays are any kind of device used for displaying video signals, such as video projectors, video monitors, LED walls, etc. **Signal Transmission**\ Signal transmission refers to the act of sending a video signal point-to-point from a Video Output Port (a graphic card’s physical output) to a device used for display, such as a video projector or monitor. Signal transmission is usually accomplished through cable distribution (fiber, HD-SDI, Ethernet, etc.). **Video Output Ports**\ Video Output Ports are the physical connectors attached to the graphic cards that are installed in the servers used to output video signal. **Virtual Video Outputs**\ PHOTON uses Virtual Video Outputs as a way to represent the Video Output Ports. Virtual Video Outputs have to be declared in the Outputs list located in the Photon tab of the Settings module window ([see Section 1.6 Virtual Video Outputs Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-6-virtual-video-output-creation)). **Virtual Displays**\ Virtual Displays are the virtual counterparts of the tangible, real-world displays described in this lexicon. Some types of Virtual Displays, such as Projectors, can be automatically created when Virtual Video Outputs are first declared. **Screens**\ PHOTON’s structure is based on real and virtual screens. All screens used as displays in the physical world have a virtual counterpart in the 3D Scene module, which acts as a simulation of the stage (or exhibition) space. Each real-world screen will have to be represented by a virtual one, which in turn will be linked to one or more video outputs. In the 3D Scene module, Screens act as a virtual representation of the Projection Surfaces. They are also represented in the Timeline module, where you can assign layers of media clips to them. **Video Content**\ The term “video content” refers to the still images and video files that are imported into PHOTON, mapped as a texture onto Screens, and eventually played back using the Timeline module. **Calibration**\ Calibration designates a process through which geometric coordinates are established between elements in the virtual scene and their real-world counterparts. By aligning the geometric features shared by a real screen surface and its model, PHOTON can reconstruct the position and orientation of displays as a means of mapping video content onto physical objects and other structural elements of the real-world stage. Many processes taking place during calibration are handled automatically by PHOTON. For example, edge blending between video outputs can be calculated dynamically in real time without user intervention. The system also automatically differentiates between cases where 2D or 3D transformations are applied, based on the geometric characteristics of the screen’s surface. PHOTON supports many approaches to calibration; some involve manual operations, and others are automated and rely on data provided via the analysis of camera feeds. **Blending**\ Blending designates a process through which the projected images of multiple projectors are altered and seamlessly blend into one another, creating an uninterrupted surface (see Section 2.8 Blending in Chapter 4 Programming a Show). ## 2.1 Signal Routing and Display Identification Before starting a calibration process, you should always validate signal paths and make sure the various video displays (monitors, projectors, etc.) are correctly identified. Beyond the obvious problems caused by broken signal paths, incorrect video output identification might lead to confusion during the calibration process. {% hint style="warning" %} Before activating Display Identification, make sure all of your Displays are powered and properly connected to the Video Output Ports on all servers. Also make sure you have declared all of your Virtual Video Outputs in the Settings module ([see Section 1.6 Virtual Video Outputs Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-6-virtual-video-output-creation)). Otherwise, PHOTON will not output video content. {% endhint %} ### 2.1.1 Signal Routing In order to send video content to a display, the following path must be followed: * Media > Screens > Virtual Display > Virtual Output > Graphic Card Physical Output > Signal Transmission > Display If the signal does not reach the Display, you should test the signal path in the order described above. ### 2.1.2 Display Identification PHOTON features an identification card system designed to simplify troubleshooting operations related to display identification and signal path continuity. PHOTON can simultaneously generate random-colored identification cards featuring output names and corresponding display names for each declared Virtual Video Output. (Note that animated VYV logos and an output name are integrated in each identification card.) ![](/files/-LfWEyM9TTFFDXKsLU56) Sending identification cards simultaneously through every output will allow you to visually validate the signal path and the output configuration (and naming). #### Enable Display Ident Before enabling Display Ident you should have integrated your Display Servers and Display Master Servers into your Server Group, and declared all of their Outputs in the Settings module ([see Section 1.1.1 Server Group Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-1-1-server-group-creation) and [Section 1.6 Virtual Video Outputs Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-6-virtual-video-output-creation)). Doing so will allow you to see the identification cards in your Displays. 1. Open the 3D Scene module by pressing \[Alt+C] or by selecting {System > 3D Scene}. 2. Enable the Calibration mode by pressing \[4] or by clicking on the \[Calibration] toggle. 3. Open the Settings Panel by clicking on the gear icon button. 4. Click on the \[Display Ident] toggle to activate Display Ident. ![](/files/-LfWEyMAdfJz24VQvM85) {% hint style="info" %} Identification cards will be rendered on top of everything, and will therefore hide calibration and display rendering. Make sure Display Ident is off when you are done with it. {% endhint %} ## 2.2 Adding Projection Surfaces Projection Surfaces need to be added in the 3D Scene in order to create Screens that will be made visible for Virtual Displays ([see Section 2.5 Projection Surfaces Visibility in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/02.02-3d-scene#2-5-projection-surfaces-visibility)). When Screens are paired with Virtual Displays they can be calibrated with their real-life counterparts. Screens will also co-exist in the Timeline module, where they hold layers of video content. Projection Surfaces are virtual 3D objects that formally correspond to their real-life counterparts; they make it possible for a wall (onto which video content is projected) to be represented by a rectangular plane, or the surface of a planetarium to be represented by a hemisphere, etc. PHOTON features a library of Default Objects from which you can pick and choose. This library contains commonly used Projection Surfaces (sphere, cube, rectangular plane, etc.). It is also possible to import custom-made 3D objects in PHOTON in order to represent complex Projection Surfaces such as theatrical props and set elements ([see Section 2.1 Import 3D Objects in Chapter 3 Importing Content](/user-guide/3.-importing-content/03.02-imports#2-1-importing-3d-objects)). #### Add a Projection Surface 1. Open the File Manager module by pressing \[Alt+C] or by selecting {System > 3D Scene}. 2. Enable the Modeling mode by pressing \[1] or by clicking on the \[Modeling] toggle. 3. Select a Default Object through {Primitive > Default Objects > *one of the objects listed in the Default Objects library*} or a custom 3D model through {Primitive > XSI or OBJ or FBX}. Once selected, the new Projection Surface will appear in the 3D Scene as an entry in the Scene Primitives list. It will also appear in the 3D Scene Preview. ![](/files/-LfWEyMBv547FwBP2wwf) ## 2.3 Manual 2D Keystone Calibration Once signal paths have been tested and Displays properly identified ([see Section 2.1 Signal Routing and Display Identification in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/02.02-3d-scene#2-1-signal-routing-and-display-identification)), it is time to calibrate outputs. Manual 2D keystone calibration is the simplest form of calibration offered in PHOTON. It should be used in cases where video content is projected onto flat surfaces or displayed on video monitors. By manipulating the four corners of a Screen within a Virtual Display, the user can position them in relation to the four corners of a Display (corner-pin). This method can also be used to correct the trapezoidal distortion of an image caused by a difference in angle between the alignment of a real-world projector and projection surface (keystone correction). ![](/files/-Lh75ySSqLsy6cNzlR6o) ### 2.3.1 Add a Projector in the 3D Scene In order to start the calibration process, you will need a virtual representation of the real-world display. If you are attempting a manual keystone calibration, the appropriate Virtual Display type is a Projector (even if you are attempting to calibrate a video monitor such as a TV). Make sure the Virtual Video Output that corresponds to the Video Output Port was declared in the Settings module when you created your project’s Network Group. If this wasn’t done, please do so before continuing ([see Section 1.6 Virtual Video Outputs Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-6-virtual-video-output-creation)). #### **Automatic Projector Creation** When a Virtual Video Output is declared in the Settings module, a confirmation box opens and displays the foll**o**wing message: “Do you want to create a Projector in the 3D Scene and link it to this output?” By clicking the \[Yes] button you will automatically add a Projector in the 3D Scene linked to the new output. #### Keyboard Calibration Point Manipulations ![](/files/-LfWEyMCFD3SUo70_xjH) #### Manual Projector Creation If for any reason you created a Virtual Video Output but did not assign a Projector to it, you will have to follow these steps: 1. In the 3D Scene module, select {Primitive > Display > Projector} to create a new Projector. A new entry (named Projector) will appear in the Scene Primitives list. A pyramid, representing the light beam emitted by the Projector, will also be visible in the 3D Scene Preview.(see img 1) 2. In the Settings module, go to the Photon Selection list and select the server you want to use as an output for the video signal. 3. Beside each of the Virtual Video Outputs you created, you will find a dropdown menu with the {no output} option selected. Using the dropdown menu linked to the appropriate Virtual Video Output, select the Projector you created. (see img 2) ![img 1](/files/-LfWEyMDMIYWRAz5zFtS) ![img 2](/files/-LfWEyMEyJXJhSPoGqVS) #### Renaming a Projector Once a Projector in the 3D Scene is linked to a Virtual Video Output, you can rename it to make it easier to identify. (In complex projects involving many Displays, renaming Projectors is a must-do.) * \[Double-click] on the Projector’s entry in the Scene Primitives list. A text field will appear allowing you to enter a new name for the Projector. ![](/files/-LfWEyMF6ckjgWfgbqIe) ### ### 2.3.2 Add a Plane in the 3D Scene For a manual 2D calibration the Projection Surface is necessarily a plane. This plane can represent a video monitor (a TV screen, for example) or a wall upon which video content will be projected. * To add a plane to the 3D Scene, select {Primitive > Default Objects > Plane} in the Primitive dropdown menu. ![](/files/-LfWEyMGEFwy7MMj-PT8) The plane will appear in the Scene Primitives list, and a visual representation of it will appear at the origin (0,0,0) of the 3D Scene Preview. {% hint style="info" %} Many ready-to-use 3D objects are available in PHOTON. They can act as Projection Surfaces and simplify the construction of the virtual representation of your real-world stage space. 3D objects can be selected from the Primitive dropdown menu {Primitive > Default Objects}. {% endhint %} ### 2.3.3 Scale, Translate and Rotate the Plane It is possible to modify the shape of the plane in order to match the ratio of the real-world display it represents. You can also position and rotate the plane in space to match the position and orientation of the real-world display. #### Why Apply 3D Transformations? Scaling, positioning and orienting are crucial in stage contexts where many real-world projectors cover many Screen Surfaces. Under these circumstances, it is important to accurately represent the spatial relations between all objects in PHOTON’s virtual world. If the spatial relations between objects aren’t accurately represented it won’t be possible to complete the calibration process. Scaling, positioning and orienting are not crucial in stage contexts involving single Displays linked to single Screen Surfaces that act as autonomous pairs. However, doing so is considered a best practice and will give you access to a realistic pre-visualization of the project. {% hint style="info" %} Project pre-visualization is one of PHOTON’s key features. VYV’s software can create full 3D simulations of the real-world stage space. In the 3D Scene module Screen Surfaces (with their video content), Displays, cameras, lighting equipment, and set elements can be placed in a virtual space that provides a complete overview of a project. {% endhint %} #### Applying the 3D Transformations An object’s size, position or orientation (Decorative Objects as well as Projection Surfaces) in the 3D Scene can be modified using the Transformations Panel or Transformation Manipulators. #### Transformations Panel The Transformations Panel contains multiple sliders that allow the modification of the Scale, Translate and Rotate parameters for each axis (X, Y and Z) for any object previously created in the 3D Scene module. * Select the object you want to alter by clicking on its entry in the Scene Primitives list. * To open the Transformations Panel, press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene’s main menu. * To change the geometric coordinates of an object, adjust the value of the sliders. You can adjust the value of a slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on it to open a text field where you can enter a desired numeric value. ![](/files/-LfWEyMHcbRRaIa93Q-n) The effects of these transformations can be seen in the 3D Scene Preview. The graphic representation of the selected object will be modified as well. {% hint style="info" %} Slider values differ depending on the parameters they represent. The Scale sliders are not dimension sliders; they act as scaling coefficients applied to the object’s original size. For example, if the scale value of a cube featuring edges of 2 meters is changed from 1 to 4 on all three axes, the cube will now have edges of 8 meters. The Translate sliders express a value in meters. The Rotate sliders express values in angles. And the Rotate Axis sliders are used to apply a rotation expressed in an angle that corresponds to specific vectors. For example, an angle is set with the first slider while the three other sliders represent vector values for each axis that will determine how the rotation will be applied to each. {% endhint %} #### Transformation Manipulators The Transformation Manipulators facilitate direct modification of a 3D object’s parameters —Scale, Translate, Rotate — by manipulating your mouse in the 3D Scene Preview. Enable the desired Transformations Manipulator using the following methods: * **Scale Manipulator:** Press \[X] on the keyboard or click on the Scale button located in the top-right corner of the 3D Scene window. * **Translate Manipulator:** Press \[V] on the keyboard or click on the Translate button located in the top-right corner of the 3D Scene window. * **Rotate Manipulator:** Press \[C] on the keyboard or click on the Rotate button located in the top-right corner of the 3D Scene window. ![](/files/-LfWEyMIV_sfkVX7kbnX) The Transformation Manipulators will appear when a 3D object is selected. PHOTON’s Manipulators feature a standard color-scheme for its 3D coordinate system: X is red, Y is green and Z is blue. * \[Click+Drag] the handle of the axis parameter you want to modify (X, Y or Z). The handle will become yellow when selected. * The Scale and Translate Manipulators feature a yellow dot at the intersection of their axes. \[Click+Drag] the yellow dot to simultaneously apply transformations to all axes. ![](/files/-LfWEyMJlXaUiz_kwxlE) {% hint style="info" %} Enabling a Manipulator will disable camera movements in the 3D Scene Preview. To switch back to camera control, press \[S] on the keyboard or click the Camera button located at the top-right corner of the 3D Scene. {% endhint %} {% hint style="info" %} If you want to control the camera while a Manipulator is enabled, press and hold \[S] on the keyboard. This will allow you to manipulate the camera. To switch back to Manipulator control, release the \[S] key. {% endhint %} ### 2.3.4 Freeze Transformations Freezing an object’s Transformations sets its current size, orientation and location as the new default values without modifying the object’s geometric coordinates. #### Freeze an Object * Select the object by clicking on its entry in the Scene Primitives list. * To activate the Transformations Panel press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene main menu. * Click on the \[Set Freeze] button located at the top of the Transformations Panel. * If you want to revert to the object’s initial parameters, you can unfreeze it by clicking on the \[Reset Freeze] button located at the top of the Transformations Panel. ![](/files/-LfWEyMKuQzBM6cCx6a8) #### Why Freeze? Freezing an object sets its Calibration Points directly in relation to its new position in the 3D Scene Preview. Calibration Points are created out of a 3D object’s vertices and are the main features used during the calibration process. Therefore, it is crucial to alert the software through the \[Set Freeze] command if a 3D object’s geometric parameters have been modified before starting the calibration process. Furthermore, 3D objects in PHOTON can be linked to position and orientation data (provided by stage automation and tracking or animations). These 3D objects will move in the real world but you will want to retain their original geometric data for the purposes of display calibration. Freezing makes this possible, and facilitates accurate projection on surfaces that move. ### 2.3.5 Map the Plane to the Display Once the plane that acts as the Projection Surface has undergone the appropriate geometric transformations and has been frozen, you have to add it to the Objects Reference list. In order to calibrate a Display (find its position and orientation in the real world), PHOTON has to build geometric correspondences with at least one 3D object representing a physical structure in the real world. In this case, the plane will act both as a Projection Surface and a Reference Object. 1. Select the 3D Scene module’s Calibration mode by pressing \[4] or by clicking on the \[Calibration] button located at the top-right corner of the 3D Scene window.\ \ Once the Calibration mode is enabled, the 3D Scene Preview will turn red and the Calibration Tools Window will open in the lower right part of the 3D Scene window.
2. Select the Display you want to calibrate by clicking on its entry in the Calibration Tools Window list. (If you haven’t renamed the Display, it will be listed as “Projector.”)\ \ Make sure the Display Grid is enabled. By showing a representation of how the Display’s texture map is distributed (both in the 3D Scene Preview and in the real-world projection) the Display Grid will let you preview the amount of distortion affecting the projected image. Normally, you will try to limit distortion as much as possible by manipulating the Calibration Points.
3. Press \[D] or click on the gear icon button to access the 3D Scene module’s Settings menu and click on the \[Display Grid] toggle if the Display Grid isn’t already activated. 4. In the Primitive Preset window section (below the Calibration Tools Window), select the plane from the {Object Reference} dropdown menu. 5. Click on the \[Add] button to add the plane as a Reference Object. Also, notice that the plane was automatically added to the Objects Visibility list [(see Section 2.5 Projection Surfaces Visibility in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/02.02-3d-scene#2-5-projection-surfaces-visibility)). The plane will be covered by green dots corresponding to its vertices in the 3D Scene Preview. ![](/files/-Lh1-uHNbC9WMA3lyFY9) {% hint style="info" %} You will notice that a single item named “Manual” initially populates the Objects Reference list. Adding a new object as the plane to the Objects Reference list eliminates the item named “Manual.” The “Manual” item refers to the fact that if a Display does not have a Reference Object, it can still be positioned and oriented manually using your mouse in the Calibration Tools Window Preview. Hover the mouse on the preview and use the mouse scroll wheel for positioning on the Z-axis, Right-click+Drag for positioning on the X- and Y-axes, and Left-click+Drag to orient the Display. {% endhint %} {% hint style="info" %} Multiple 3D objects can be added as Reference Objects for the same Display. This allows the Display to simultaneously support multiple calibrations. For example, in a case where a single video projector covers two different Screen Surfaces, each Screen Surface would be represented by a 3D object, and both 3D objects would have to be added as Reference Objects to the same Display (representing the video projector). {% endhint %} {% hint style="info" %} A single 3D object can be added as a Reference Object for multiple Displays. For example, in a situation where beams of light from multiple projectors fall on a single Projection Surface, the same 3D object (corresponding to the Projection Surface) would have to be added to each of the Displays (corresponding to the video projectors). {% endhint %} ### 2.3.6 Calibration Point Creation and Manipulation In order to calibrate the Display, you will have to create four Calibration Points that match the four corners of the plane. You will then manipulate these Calibration Points until the image being displayed isn’t distorted. #### Calibration Point Creation Calibrations Points are created by converting vertices: the green dots that correspond to the 3D object’s vertices. This is done through a \[Ctrl+Double-click] applied to a vertex. To perform a manual 2D keystone calibration, you will have to create Calibration Points using the four corners of the plane. * \[Ctrl+Double-click] sequentially on the four vertices that match the four corners of the plane. ![](/files/-LfWEyMLbS7xiAo5x67m) Whenever a vertex point is converted to a Calibration Point and is selected, it will double in size and turn white. An unselected Calibration Point will retain this double size but will turn blue. Once the four Calibration Points have been created, the plane displayed in the Calibration Tools Window will snap to its four corners and completely fill its space. If you want to use the full pixel space offered by the Display and there isn’t a need for any kind of geometric correction (if you plan to output the signal to a video monitor, for example), you are done. #### Calibration Points, Crosses and Lines Whenever a Calibration Point is created, a green cross will appear in the Calibration Tools Window Preview where it is positioned. The green cross will also be projected by the Display it is linked to. If the Calibration Point is moved, the cross will also move to reflect the change of position. If the Calibration Point is selected, its corresponding green cross will feature elongated white lines that will extend until they reach the edge of the projected image. These two features — green crosses and white lines — should help you calibrate the Display. Parameters for both the crosses and the lines are accessible in the Options menu. If you want to modify these parameters, click on the gear icon button to access the Options Panel and manipulate the following widgets: * **Display Cross toggle:** \[Click] on the toggle to show/hide the green crosses. * **Display Lines toggle:** \[Click] on the toggle to show/hide the white lines. * **2D Point Size slider:** \[Click+Drag] the slider to change the size of the green crosses. * **Line Width slider:** \[Click+Drag] the slider to change the width of the white lines. ![](/files/-LfWEyMMcOx6VfwYAsXx) #### Manipulating Calibration Points If you have to apply 2D geometric corrections (such as keystoning) to the video output, you will have to manipulate the Calibration Points. By moving Calibration Points in PHOTON you will alter the projected image’s geometric coordinates and compensate for alignment differences between a Projector and its related Projection Surface. Calibration Points will have to be selected and moved one by one from those that were previously declared. This step has to be repeated with each of the previously declared Calibration Points (a keystone correction will involve four Calibration Points). The final positions of the Calibration Points in the projected image (on the real-world Projection Surface) will make it possible to project an accurate (geometrically correct) image. Calibration Points can be manipulated by using the keyboard on it’s own, or by using a combination of the mouse and keyboard. | **Select Previous/Next Calibration Point** | | | ------------------------------------------ | -------------------------------------- | | \[Page Up] | selects the next Calibration Point | | \[Page Down] | selects the previous Calibration Point | | **Move the Calibration Point that is Currently Selected** | | | --------------------------------------------------------- | ------------------------------------------------------------------------------------------------ | | \[Arrows] | move the selected Calibration Point in any of the four directions represented by the arrows keys | | \[Shift+Arrows] | applies the same effect as above, only 10 times slower | | \[Ctrl+Shift+Arrows] | applies the same effect as above, only 100 times slower | | **Move the Entire Calibration** | | | ------------------------------- | ------------------------------------------------------ | | \[Alt+Arrows] | moves all of the Calibration Points at the same time | | \[Alt+Shift+Arrows] | applies the same effect as above, only 10 times slower | | **Add/Remove a Calibration Point** | | | ---------------------------------- | -------------------------------------------------------- | | \[-] | removes the Calibration Point that is currently selected | | \[+] | re-add the Calibration Point that was previously removed | #### Mouse and Keyboard Calibration Point Manipulations | **Select a Calibration Point from the Calibration Tools Window Preview** | | | ------------------------------------------------------------------------ | --------------------------------------------------------------------------------------------------- | | \[Ctrl+Left-click] | selects the Calibration Point that is closest to your cursor and moves it to where you have clicked | | **Select a Calibration Point in the 3D Scene Preview** | | | ------------------------------------------------------ | -------------------------------------------------------------------- | | \[Ctrl+Left-click] | on a Calibration Point (blue dots) to select it (it will turn white) | | **Cycle Through Calibration Point Selection** | | | --------------------------------------------- | --------------------------------------------------------------------------------------------------------------------------------------------- | | \[Mouse wheel] | Place the mouse over the Calibration Tools Window Preview and use the mouse wheel to cycle through the previously declared Calibration Points | | **Move a Calibration Point** | | | ---------------------------- | -------------------------------------------------------------------------------------------------------------------------------- | | \[Left-click] | anywhere in the Calibration Tools Window Preview to move the selected Calibration Point to its new location | | \[Left-click+Drag] | anywhere in the Calibration Tools Window Preview to move the selected Calibration Point in the direction that you drag the mouse | | \[Shift+Left-click+Drag] | applies the same effect as above, only 10 times slower | | **Add/Remove a Calibration Point in the 3D Scene Preview** | | | ------------------------------------------------------------ | ---------------------------------------------------------------------------------------------------------- | | \[Ctrl+Double-click] | on a vertex (green dots) on the Reference Object in the 3D Scene Preview to create a new Calibration Point | | **Add/Remove a Calibration Point in the Calibrations tools** | | | \[Ctrl+Right-click] | on a Calibration Point to remove it | ## 2.4 Manual 3D Calibration The manual calibration process for a 3D projection surface (for example, a cube) is only slightly different from the one described in section 2.3 Manual 2D Keystone Calibration. The main difference resides in the number of Calibration Points needed by PHOTON to achieve a geometric match between the real-world projector and projection surface with their virtual counterparts. If a 3D object is selected for calibration and a sufficient quantity of well-distributed Calibration Points are identified on its surface (with regard to width, height and depth), PHOTON will automatically perform a 3D calibration. There is no need to specify if a calibration is tridimensional or bidimensional. * **A** **minimum of six Calibration Points** will be needed to calibrate a projector for a 3D object. These Calibration Points correspond to some of the vertices of the 3D object acting as the Projection Surface. The vertices selected for the calibration should be distributed along the 3D object’s three axes (X, Y and Z) in order to convey enough information about its volume and surface to PHOTON. For example, selecting all of the Calibration Points on the same surface of a 3D object will prevent the software from performing tridimensional calibration since coplanar vertices do not carry information about the 3D object’s volume. * **A** **maximum of nine Calibration Points** should be used when calibrating a 3D object. Using more Calibration Points is possible, but it might lead to an accumulation of small positioning errors, which will have a detrimental effect on the calibration. ### 2.4.1 Add a Projector in the 3D Scene In order to start the calibration process, you will need a virtual representation of the real-world display. If you are attempting a manual 3D calibration, the appropriate Virtual Display type is a Projector. Make sure the Virtual Video Output that corresponds to the Video Output Port was declared in the Settings module when you created your project’s Network Group. If this wasn’t done, please do so before continuing ([see Section 1.6 Virtual Video Outputs Creation in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-6-virtual-video-output-creation)). #### Automatic Projector Creation When a Virtual Video Output is declared in the Settings module, a confirmation box opens and displays the following message: “Do you want to create a Projector in the 3D Scene and link it to this output?” By clicking the \[Yes] button you will automatically add a Projector in the 3D Scene linked to the new output. ![](/files/-LfWEyMN2znpvGT6ulq7) #### Manual Projector Creation If for any reason you created a Virtual Video Output but did not assign a Projector to it, you will have to follow these steps: * In the 3D Scene module, select {Primitive > Display > Projector} to create a new Projector. A new entry (named Projector) will appear in the Scene Primitives list. A pyramid, representing the light beam emitted by the Projector, will also be visible in the 3D Scene Preview. ![](/files/-LfWEyMOei6W8CgUJGso) * In the Settings module, go to the Photon Selection list and select the server you want to use as an output for the video signal. * Beside each of the Virtual Video Outputs you created, you will find a dropdown menu with the {no output} option selected. Using the dropdown menu linked to the appropriate Virtual Video Output, select the Projector you created. ![](/files/-LfWEyMP1IgZDnlcRlMH) #### Renaming a Projector Once a Projector in the 3D Scene is linked to a Virtual Video Output, you can rename it to make it easier to identify. (In complex projects involving many Displays, renaming Projectors is a must-do.) * Double-click on the Projector’s entry in the Scene Primitives list. A text field will appear allowing you to enter a new name for the Projector. ![](/files/-LfWEyMQZQbVhCAdqvsG) ### 2.4.2 Add a 3D Object in the 3D Scene For a manual 3D calibration the Projection Surface is necessarily a 3D object. This 3D object can represent a prop or the surface of a tridimensional set element onto which video will be projected. The 3D object can either be selected from the ready-made Default Objects in the Primitive dropdown menu or it can be a custom made model (.obj, .fbx or .xsi) imported through the File Manager module. The following subsections will use the cube corner model (listed as a {Cube}) from the Default Objects as an example. * To add a 3D object to the 3D Scene, select {Primitive > Default Objects > Cube} in the Primitive dropdown menu. ![](/files/-LfWEyMRkNXS4h2rlWJR) The cube corner will appear in the Scene Primitives list, and a visual representation of it will appear at the origin (0,0,0) of the 3D Scene Preview. {% hint style="info" %} Many ready-to-use 3D objects are available in PHOTON. They can act as Projection Surfaces and simplify the construction of the virtual representation of your real-world stage space. 3D objects can be selected from the Primitive dropdown menu {Primitive > Default Objects}. {% endhint %} ### 2.4.3 Scale, Translate and Rotate the 3D Object It is possible to modify the shape of the cube corner in order to match the ratio of the real-world prop it represents. You can also position and rotate the cube corner in space to match the position and orientation of the real-world prop. #### Why Apply 3D Transformations? Scaling, positioning and orienting are crucial in stage contexts where many real-world projectors cover many Screen Surfaces. Under these circumstances, it is important to accurately represent the spatial relations between all objects in PHOTON’s virtual world. If the spatial relations between objects aren’t accurately represented it won’t be possible to complete the calibration process. Scaling, positioning and orienting are not crucial in stage contexts involving single Displays linked to single Screen Surfaces that act as autonomous pairs. However, doing so is considered a best practice and will give you access to a realistic pre-visualization of the project. {% hint style="info" %} Project pre-visualization is one of PHOTON’s key features. VYV’s software can create full 3D simulations of the real-world stage space. In the 3D Scene module Screen Surfaces (with their video content), Displays, cameras, lighting equipment, and set elements can be placed in a virtual space that provides a complete overview of a project. {% endhint %} #### Applying 3D Transformations An object’s size, position or orientation (Decorative Objects as well as Projection Surfaces) in the 3D Scene can be modified using the Transformations Panel or Transformation Manipulators. #### Transformations Panel The Transformations Panel contains multiple sliders that allow the modification of the Scale, Translate and Rotate parameters for each axis (X, Y and Z) for any object previously created in the 3D Scene module. * Select the object you want to alter by clicking on its entry in the Scene Primitives list. * To open the Transformations Panel, press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene’s main menu. * To change the geometric coordinates of an object, adjust the value of the sliders. You can adjust the value of a slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on it to open a text field where you can enter a desired numeric value. ![](/files/-LfWEyMSMnbD5s-T2oJB) The effects of these transformations can be seen in the 3D Scene Preview. The graphic representation of the selected object will be modified as well. {% hint style="info" %} Slider values differ depending on the parameters they represent. The Scale sliders are not dimension sliders; they act as scaling coefficients applied to the object’s original size. For example, if the scale value of a cube featuring edges of 2 meters is changed from 1 to 4 on all three axes, the cube will now have edges of 8 meters. The Translate sliders express a value in meters. The Rotate sliders express values in angles. And the Rotate Axis sliders are used to apply a rotation expressed in an angle that corresponds to specific vectors. For example, an angle is set with the first slider while the three other sliders represent vector values for each axis that will determine how the rotation will be applied to each. {% endhint %} #### Transformation Manipulators The Transformation Manipulators facilitate direct modification of a 3D object’s parameters —Scale, Translate, Rotate — by manipulating your mouse in the 3D Scene Preview. Enable the desired Transformations Manipulator using the following methods: * **Scale Manipulator:** Press \[X] on the keyboard or click on the Scale button located in the top-right corner of the 3D Scene window. * **Translate Manipulator:** Press \[V] on the keyboard or click on the Translate button located in the top-right corner of the 3D Scene window. * **Rotate Manipulator:** Press \[C] on the keyboard or click on the Rotate button located in the top-right corner of the 3D Scene window. ![](/files/-LfWEyMTs-6FUUwlYsoE) The Transformation Manipulators will appear when a 3D object is selected. PHOTON’s Manipulators feature a standard color-scheme for its 3D coordinate system: X is red, Y is green and Z is blue. * \[Click+Drag] the handle of the axis parameter you want to modify (X, Y or Z). The handle will become yellow when selected. * The Scale and Translate Manipulators feature a yellow dot at the intersection of their axes. \[Click+Drag] the yellow dot to simultaneously apply transformations to all axes. {% hint style="info" %} Enabling a Manipulator will disable camera movements in the 3D Scene Preview. To switch back to camera control, press \[S] on the keyboard or click the Camera button located at the top-right corner of the 3D Scene. {% endhint %} {% hint style="info" %} If you want to control the camera while a Manipulator is enabled, press and hold \[S] on the keyboard. This will allow you to manipulate the camera. To switch back to Manipulator control, release the \[S] key. {% endhint %} ### 2.4.4 Freeze Transformations Freezing an object’s Transformations sets its current size, orientation and location as the new default values without modifying the object’s geometric coordinates. #### Freeze an Object * Select the object by clicking on its entry in the Scene Primitives list. * To activate the Transformations Panel press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene main menu. * Click on the \[Set Freeze] button located at the top of the Transformations Panel. * If you want to revert to the object’s initial parameters, you can unfreeze it by clicking on the \[Reset Freeze] button located at the top of the Transformations Panel. ![](/files/-LfWEyMU-M96Z6Tcl1FH) #### Why Freeze? Freezing an object sets its Calibration Points directly in relation to its new position in the 3D Scene Preview. Calibration Points are created out of a 3D object’s vertices and are the main features used during the calibration process. Therefore, it is crucial to alert the software through the \[Set Freeze] command if a 3D object’s geometric parameters have been modified before starting the calibration process. Furthermore, 3D objects in PHOTON can be linked to position and orientation data (provided by stage automation and tracking or animations). These 3D objects will move in the real world but you will want to retain their original geometric data for the purposes of display calibration. Freezing makes this possible, and facilitates accurate projection on surfaces that move. ### 2.4.5 Map the 3D Object to the Display Once the cube corner that acts as the Projection Surface has undergone the appropriate geometric transformations and has been frozen, you have to add it to the Objects Reference list. In order to calibrate a Display (find its position and orientation in the real world), PHOTON has to build geometric correspondences with at least one 3D object representing a physical structure in the real world. In this case, the cube corner will act both as a Projection Surface and a Reference Object. 1. Select the 3D Scene module’s Calibration mode by pressing \[4] or by clicking on the \[Calibration] button located at the top-right corner of the 3D Scene window.\ \ Once the Calibration mode is enabled, the 3D Scene Preview will turn red and the Calibration Tools Window will open in the lower right part of the 3D Scene window (see img1).
2. Select the Display you want to calibrate by clicking on its entry in the Calibration Tools Window list. (If you haven’t renamed the Display, it will be listed as “Projector.”)\ \ Make sure the Display Grid is enabled. By showing a representation of how the Display’s texture map is distributed (both in the 3D Scene Preview and in the real-world projection) the Display Grid will let you preview the amount of distortion affecting the projected image. Normally, you will try to limit distortion as much as possible by manipulating the Calibration Points.
3. Press \[D] or click on the gear icon button to access the 3D Scene module’s Settings menu and click on the \[Display Grid] toggle if the Display Grid isn’t already activate (see img2). 4. In the Primitive Preset window section (below the Calibration Tools Window), select the {Cube} (which is in fact a cube corner) from the {Object Reference} dropdown menu.(see img 3) 5. Click on the \[Add] button to add the cube corner as a Reference Object. Also, notice that the cube corner was automatically added to the Objects Visibility list (see Section 2.5 Projection Surfaces Visibility in Chapter 2 Setting Up a Show) (see img 4) ![img 1](/files/-LfWEyMVXVoltuj2HNVR) ![img 2](/files/-LfWEyMWtcS2u-FIhGy-) ![img 3](/files/-LfWEyMX3TxxPsnlJupD) ![img 4](/files/-LfWEyMYIgCkzz13a5Nx) The cube corner will be covered by green dots corresponding to its vertices in the 3D Scene Preview. {% hint style="info" %} You will notice that a single item named “Manual” initially populates the Objects Reference list. Adding a new object as the cube corner to the Objects Reference list eliminates the item named “Manual.” The “Manual” item refers to the fact that if a Display does not have a Reference Object, it can still be positioned and oriented manually using your mouse in the Calibration Tools Window Preview. Hover the mouse on the preview and use the mouse scroll wheel for positioning on the Z-axis; \[Right-click+Drag] for positioning on the X- and Y-axes; and \[Left-click+Drag] to orient the Display. {% endhint %} ![](/files/-LfWEyMZVotL3GCZ6nJv) {% hint style="info" %} Multiple 3D objects can be added as Reference Objects for the same Display. This allows the Display to simultaneously support multiple calibrations. For example, in a case where a single video projector covers two different Screen Surfaces, both Screen Surfaces would be represented by its own 3D object, and both 3D objects would have to be added as Reference Objects to the same Display (representing the video projector). {% endhint %} {% hint style="info" %} A single 3D object can be added as a Reference Object for multiple Displays. For example, in a situation where beams of light from multiple projectors fall on a single Projection Surface, the same 3D object (corresponding to the Projection Surface) would have to be added to each of the Displays (corresponding to the video projectors). {% endhint %} ### 2.4.6 Calibration Point Creation and Manipulation In order to calibrate the Display, you will have to create seven Calibration Points that match the corners of the cube corner. You will then manipulate these Calibration Points until the image being displayed isn’t distorted. (You can use the corner created by the junction of two straight walls and a floor to simulate an open cube if you don’t have access to such a prop.) #### Calibration Point Creation Calibrations Points are created by converting vertices: the green dots that correspond to the 3D object’s vertices. This is done through a \[Ctrl+Double-click] applied to a vertex. To perform a manual 3D calibration, you will have to create Calibration Points using the seven corners of the cube corner. * \[Ctrl+Double-click] sequentially on the seven vertices that match the seven corners of the cube corner. Whenever a vertex point is converted to a Calibration Point and is selected, it will double in size and turn white. An unselected Calibration Point will retain this doubling of size but will turn blue. When you create a Calibration Point, move it to its new position before creating another one. Follow the remaining instructions to learn how to manipulate the Calibration Points. ![](/files/-LfWEyM_emBilZFlXtN1) #### Calibration Points, Crosses and Lines Whenever a Calibration Point is created, a green cross will appear in the Calibration Tools Window Preview where it is positioned. The green cross will also be projected by the Display it is linked to. If the Calibration Point is moved, the cross will also move to reflect the change of position. If the Calibration Point is selected, its corresponding green cross will feature elongated white lines that will extend until they reach the edge of the projected image. ![](/files/-LfWEyMazdkEeDoNFW_y) These two features — green crosses and white lines — should help you calibrate the Display. Parameters for both the crosses and the lines are accessible in the Options menu. If you want to modify these parameters, click on the gear icon button to access the Options Panel and manipulate the following widgets: * **Display Cross toggle:** Click on the toggle to show/hide the green crosses. * **Display Lines toggle:** Click on the toggle to show/hide the white lines. * **2D Point Size slider:** \[Click+Drag] the slider to change the size of the green crosses. * **Line Width slider:** \[Click+Drag] the slider to change the width of the white lines. ![](/files/-LfWEyMbZ7aWmr5C3M5u) #### Manipulating Calibration Points If you have to apply 3D geometric corrections to the video output, you will have to manipulate the Calibration Points. By moving Calibration Points in PHOTON you will alter the projected image’s geometric coordinates and compensate for alignment differences between a Projector and its corresponding Projection Surface. Calibration Points will have to be selected and moved one by one. This step has to be repeated with each of the declared Calibration Points. The final positions of the Calibration Points in the projected image (on the real-world Projection Surface) will make it possible to project an accurate (geometrically correct) image. Calibration Points can be manipulated by using the keyboard on it’s own, or by using a combination of the mouse and keyboard. #### Keyboard Calibration Point Manipulations | **Select Previous/Next Calibration Point** | | | ------------------------------------------ | -------------------------------------- | | \[Page Up] | selects the next Calibration Point | | \[Page Down] | selects the previous Calibration Point | | **Move the Calibration Point that is Currently Selected** | | | --------------------------------------------------------- | ------------------------------------------------------------------------------------------------ | | \[Arrows] | move the selected Calibration Point in any of the four directions represented by the arrows keys | | \[Shift+Arrows] | applies the same effect as above, only 10 times slower | | \[Ctrl+Shift+Arrows] | applies the same effect as above, only 100 times slower | | **Add/Remove a Calibration Point** | | | ---------------------------------- | -------------------------------------------------------------------------------------------------------------------------------------- | | \[-] | removes the Calibration Point that is currently selected | | \[+] | adds a new Calibration Point corresponding to the vertex that is currently selected, or re-adds a previously deleted Calibration Point | #### Mouse and Keyboard Calibration Point Manipulations | **Select a Calibration Point from the Calibration Tools Window Preview** | | | ------------------------------------------------------------------------ | ---------------------------------------------------------------------------------------------------- | | \[Ctrl+Left-click] | selects the Calibration Point that is closest to your cursor and moves it to where you have clicked. | | **Select a Calibration Point in the 3D Scene Preview** | | | ------------------------------------------------------ | -------------------------------------------------------------------- | | \[Ctrl+Left-click] | on a Calibration Point (blue dots) to select it (it will turn white) | | **Cycle Through Calibration Point Selection** | | | --------------------------------------------- | ---------------------------------------------------------------------------------------------------------------------------------------------- | | \[Mouse wheel] | Place the mouse over the Calibration Tools Window Preview and use the mouse wheel to cycle through the previously declared Calibration Points. | | **Move a Calibration Point** | | | ---------------------------- | -------------------------------------------------------------------------------------------------------------------------------- | | \[Left-click] | anywhere in the Calibration Tools Window Preview to move the selected Calibration Point to its new location | | \[Left-click+Drag] | anywhere in the Calibration Tools Window Preview to move the selected Calibration Point in the direction that you drag the mouse | | \[Shift+Left-click+Drag] | applies the same effect as above, only 10 times slower | | **Add/Remove a Calibration Point** | | | ---------------------------------- | ----------------------------------------------------------------------------------------------------------- | | \[Ctrl+Double-click] | on a vertex (green dots) on the Reference Object in the 3D Scene Preview to create a new Calibration Point. | | \[Ctrl+Right-click] | on a Calibration Point to remove it | ## 2.5 Projection Surfaces Visibility Projection Surfaces have to be made visible for specific Displays in the 3D Scene before video content can be projected onto them. A 3D object that was not made visible to a Display will still exist in the 3D Scene and the Timeline but will not have the ability to display content and will not act as a Projection Surface. Also, a 3D object can be made visible for some Displays while remaining invisible to others, therefore acting as a Projection Surface for specific video projectors. Controlling the visibility of a 3D object for individual Displays is useful in contexts where multiple video projectors and screens coexist in the same space. Assigning the visibility of a Screen to specific Displays will ensure that the projected video content will not appear on other unintended surfaces. Also, specifying which Display sees which Screen helps a lot when optimizing a project — eliminating unnecessary Screens from the Visibility lists of selected Displays reduces the load on the servers. In some cases, 3D objects can be used to calibrate Displays but will not be used as Projection Surfaces. {% hint style="info" %} The calibration processes described in sections 2.3 Manual 2D Keystone Calibration and 2.4 Manual 3D Calibration both feature a single 3D object mapped to a Display. When the 3D objects were added to the Objects Reference list, they were also automatically added to the Objects Visibility list. {% endhint %} #### Adding a Projection Surface to the Objects Visibility List If a 3D object is added to the Objects Reference list ([see Section 2.3.5 Map the Plane to the Display in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/02.02-3d-scene#2-3-5-map-the-plane-to-the-display)), it will automatically appear in the Objects Visibility list because this behavior covers the most common set up (a 3D object corresponding to a Screen is calibrated and will show video content). If you want to manually add a Projection Surface to the Objects Visibility list, follow these steps: 1. Make sure the 3D Scene module is open (by pressing \[Alt+C] or by selecting {System > 3D Scene} from the Main menu) and that it is currently set in the Calibration mode (by pressing \[4] or by clicking on the \[Calibration] button). 2. You should have already created the Display ([see Section 2.3.1 Add a Projector in the 3D Scene in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/02.02-3d-scene#2-3-1-add-a-projector-in-the-3d-scene)) and the 3D object that will act as the Projection Surface ([see Section 2.4.1 Add a Plane in the 3D Scene](/user-guide/2.-setting-up-a-show/02.02-3d-scene#2-4-1-add-a-projector-in-the-3d-scene)). 3. Select the Display for which you want to make the Projection Surface visible by clicking on its entry in the Calibration Tools Window list. 4. Select the 3D object corresponding to the Projection Surface you want to make visible for the currently selected Display from the dropdown menu located in the Objects Visibility window section. ![](/files/-LfWEyMcQDbPf8-coa49) #### Removing a Projection Surface from the Objects Visibility List Follow these steps if you want to remove a 3D object previously declared as a Projection Surface from a Display’s Objects Visibility list: 1. Make sure the 3D Scene module is open (by pressing \[Alt+C] or by selecting {System > 3D Scene} from the Main menu) and that it is currently set in the Calibration mode (by pressing \[4] or by clicking on the \[Calibration] button). 2. Select the Display for which you want to make the Projection Surface invisible by clicking on its entry in the Calibration Tools Window list. 3. Use your mouse to rollover the Projection Surface’s entry in the Objects Visibility list and click on the “X” symbol to remove it. ![](/files/-LfWEyMdw7OcxcNrih8I) #### Blanking a Projection Surface from the Objects Visibility List You might want to temporarily remove a Projection Surface entry from the Objects Visibility list without permanently deleting it. This is called “blanking” and is akin to temporarily muting a video channel linked to a Display and a Projection Surface. 1. Make sure the 3D Scene module is open (by pressing \[Alt+C] or by selecting {System > 3D Scene} from the Main menu) and that it is currently set in the Calibration mode (by pressing \[4] or by clicking on the \[Calibration] button). 2. Select the Display for which you want to make the Projection Surface invisible by clicking on its entry in the Calibration Tools Window list. 3. Click on the \[b] button next to the Projection Surface’s entry in the Objects Visibility list you want to blank. If you wish to “unblank” the Projection Surface, click on the “no entry” symbol that replaced the \[b] button. ![](/files/-LfWEyMeV42Bse7sNE_I) ## 2.6 Convergence and Seamless Projection The calibration processes described in sections 2.3 Manual 2D Keystone Calibration and 2.4 Manual 3D Calibration involved a single Display and a single Projection Surface functioning as an autonomous pair. However, in many situations, multiple projectors will aim at the same Projection Surface. This might be done to create seamless video coverage over the surface of a large screen or over a surface that wraps around a tridimensional structure. Multiple video projectors can also be stacked and aimed at the same screen to increase its luminosity. Both cases imply small changes to the calibration procedures and are explained below. ### 2.6.1 Convergence Convergence occurs when multiple projectors are stacked and are aiming at the same Projection Surface. Convergent calibrations can be tricky to achieve because the projected image will be blurred if the geometrical corrections applied to each Display are not perfect. To successfully apply a convergent calibration, make sure to follow these guidelines: * Use the same 3D object as the Reference Object for all Displays (in this case, the video projectors aimed at the same surface). * The 3D object acting as a Screen should also be made visible for each of the Displays. * Displays should share Calibration Points. Sharing some of the same Calibration Points will ensure that the Displays are properly aligned. The two most common examples are: * In a situation where two video projectors are aimed at the same area on a wall, the same four Calibration Points corresponding to the Screen’s four corners should be used for both Displays. * In a situation where two video projectors are aimed at a tridimensional structure acting as a Screen, Calibration Points placed in the intersection of the video projectors’ beams should be shared by both Displays. * Press \[D] on the keyboard or click on the gear icon button to access the 3D Scene module’s Settings menu and click on the \[Display Grid] toggle if the Display Grid isn’t already activated. Once activated, the Display Grid will help you align Displays because the pattern it projects onto Screens exaggerates the blurriness generated by a bad calibration. ### 2.6.2 Seamless Projection In stage productions that rely on video mapping, coverage is often intended to span seamlessly across large surfaces. In some cases, large surfaces call for a very high pixel count, which can only be achieved by using multiple video projectors. To create the illusion of a seamless video image on a large surface follow these guidelines: * Video projector beams should cover the whole Projection Surface. * The beams of contiguous video projectors should intersect to create overlapping projection areas. These overlapping projection areas should amount to 15% of a Display’s total projection area. * Intersecting video projectors should share Calibration Points in their shared projection area. * Press \[D] on the keyboard or click on the gear icon button to access the 3D Scene module’s Settings menu and click on the \[Display Grid] toggle if the Display Grid isn’t already activated. Once activated, the Display Grid will help you align Displays since the pattern it projects onto Screens exaggerates the blurriness generated by a bad calibration in the shared projection area. ![](/files/-LgZEMXC2TSJNhMxq3St) ## 2.7 Display Soloing When the Calibration mode is enabled, all of the Displays that are connected will simultaneously project/show Display Grids or the 3D object meshes. This can be overwhelming and might create confusion while attempting calibration. To simplify the calibration process it is possible to select a single Display out of the group and mask the output of the other Displays. #### Solo a Display In the Calibration Tools Window Display list, \[Right-click] on the entry corresponding to the Display you want to solo. A contextual menu will open. * Select {Solo} from the contextual menu. You will notice that the Eye icons located to the right of each entry in the Calibration Tools Window Display list will feature a strikethrough, except for the Display that was calibrated solo. ![](/files/-LfWEyMfh4rfDamU0smX) If you wish to "unsolo" the Display, repeat the same action. {% hint style="info" %} The solo function will remember which Display you have masked (or not) when you “unsolo.” {% endhint %} ## 2.8 Default Camera Selection The 3D Scene Preview features a Default Camera through which you can see the virtual stage space. This Default Camera has a fixed visual field and is not represented. If you want to visualize the virtual stage space with a different visual field or use a Display’s or Camera Object’s point of view, you can change how the Default Camera is assigned. For example, you could use a Display such as a video projector to act as the Default Camera, to see what lies in front of it. (This is a good way to verify if a Projection Surface is in a Projector’s visual field). You can also use this feature to verify if video cameras are aiming in the right direction. A dropdown menu located in the top-left corner of the 3D Scene window will allow you to change the Default Camera’s attributes. * Click on the {Default Camera} dropdown menu and select the Camera, Display or Virtual Projector you want to use as the 3D Scene Preview’s new point of view. ![](/files/-LfWEyMg1CSJHFRzXcXB) {% hint style="info" %} If you select a Camera as the new point of view and move it around in the 3D Scene, you will modify its parameters. {% endhint %} {% hint style="info" %} You can select calibrated Projectors and Cameras as points of view, but you will not be able to move them or change any of their parameters because the Calibration process locks their position and orientation. {% endhint %} ## 2.9 Blending Multiple projectors are often used to create a seamless video image on a Projection Surface. For calibrating multiple projectors PHOTON features automatic edge blending, a process through which the projected images are altered to seamlessly blend into one another. PHOTON automatically calculates Blending masks when a user is calibrating. The only decision a user has to make is to determine whether the Blending is static (once the Calibration process is complete Blending masks are saved and applied to the video outputs) or done in real-time (the Blending is calculated every frame — which is useful if Screens or Video Projectors are moving during the show). #### Enable Blending and Select Blending Mode Make sure the 3D Scene module’s current mode is not set to \[Modeling]. Access to the Blending Panel is not possible when \[Modeling] is selected. 1. To open the Blending Panel, click on the \[B] button located in the top-right corner or the 3D Scene window. 2. Click the \[Enable] toggle to activate Blending (see img) 3. Select one of the following options from the Blending mode dropdown menu: ![](/files/-Lh10RsPl_xInJoK4ivC) #### p-space 3.5 (RT GPU) RT GPU stands for Real-Time Graphics Processing Unit. This Blending mode uses the Server’s graphic card (the GPU) to calculate Blending masks for every frame (hence, in real-time). p-space 3.5 (RT GPU) should be selected when a project involves moving Projection Surfaces or moving Video Projectors. This is the most demanding Blending mode and should be used concurrently with Blending Channels to reduce the load on the servers. #### p-space 3.5 (static) This Blending mode uses the same algorithm as the p-space 3.5 (RT GPU) but it is only computed once (not in real-time). Therefore, this Blending mode should be used when dealing with static Projection Surfaces and Video Projectors. It is the least demanding Blending mode and is useful when projecting on very large static structures (which usually involves very large video files). If p-space 3.5 (static) is selected, a \[Compute Mask] button will appear. The Blending mask will be calculated every time you click on this button, making it possible for you to recalculate masks if there are changes in the Calibration. #### p-space 3.4 (GPU) This Blending mode is legacy. (It is kept in the software to support older projects.) It is outdated and should not be used. ## 2.10 Calibration Lock Once a Calibration is complete, it is possible to lock it in order to avoid unintended modifications (for example, accidently clicking in the Calibration Tools Window Preview could void a perfect Calibration if it isn’t locked). #### Locking a Calibration 1. Press \[4] on the keyboard or click on the \[Calibration] toggle to select the 3D Scene module’s Calibration mode. 2. Click the Calibration Lock button located in the top-right corner of the Calibration Tool window. #### Locking All Calibrations 1. Access the Settings Panel by clicking on the Settings button. 2. Click on the \[Controls Locked] toggle to lock all Calibrations. ![](/files/-LfWEyMikzGqaTzK75Bo) {% hint style="warning" %} \[Controls Locked] will lock Calibration for all Displays. Following this, it will be impossible to add new Calibration Points, manually move Displays (for both position and orientation) or attempt Auto-Calibration. {% endhint %} ## 2.11 Apply 3D Transformations to Objects and Freeze ### 2.11.1 Scale, Translate and Rotate a 3D Object It is possible to modify the shape of a 3D object in order to match the ratio of the real-world prop, set element, screen structure, etc. it represents. You can also position and rotate the 3D object in space to match the position and orientation of the real-world prop. #### Why Apply 3D Transformations? Scaling, positioning and orienting are crucial in stage contexts where many real-world projectors cover many Screen Surfaces. Under these circumstances, it is important to accurately represent the spatial relations between all objects in PHOTON’s virtual world. If the spatial relations between objects aren’t accurately represented it won’t be possible to complete the calibration process. Scaling, positioning and orienting are not crucial in stage contexts involving single Displays linked to single Screen Surfaces that act as autonomous pairs. However, doing so is considered a best practice and will give you access to a realistic pre-visualization of the project. {% hint style="info" %} Project pre-visualization is one of PHOTON’s key features. VYV’s software can create full 3D simulations of the real-world stage space. In the 3D Scene module Screen Surfaces (with their video content), Displays, cameras, lighting equipment, and set elements can be placed in a virtual space that provides a complete overview of a project. {% endhint %} #### Applying 3D Transformations An object’s size, position or orientation (Decorative Objects as well as Projection Surfaces) in the 3D Scene can be modified using the Transformations Panel or Transformation Manipulators. #### Transformations Panel The Transformations Panel contains multiple sliders that allow the modification of the Scale, Translate and Rotate parameters for each axis (X, Y and Z) for any object previously created in the 3D Scene module. * Select the object you want to alter by clicking on its entry in the Scene Primitives list. * To open the Transformations Panel, press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene’s main menu. * To change the geometric coordinates of an object, adjust the value of the sliders. You can adjust the value of a slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on it to open a text field where you can enter a desired numeric value. The effects of these transformations can be seen in the 3D Scene Preview. The visual representation of the selected object will be modified as well. {% hint style="info" %} Slider values differ depending on the parameters they represent. The Scale sliders are not dimension sliders; they act as scaling coefficients applied to the object’s original size. For example, if the scale value of a cube featuring edges of 2 meters is changed from 1 to 4 on all three axes, the cube will now have edges of 8 meters. The Translate sliders express a value in meters. The Rotate sliders express values in angles. And the Rotate Axis sliders are used to apply a rotation expressed in an angle that corresponds to specific vectors. For example, an angle is set with the first slider while the three other sliders represent vector values for each axis that will determine how the rotation will be applied to each. {% endhint %} #### Transformation Manipulators The Transformation Manipulators facilitate direct modification of a 3D object’s parameters —Scale, Translate, Rotate — by manipulating your mouse in the 3D Scene Preview. Enable the desired Transformations Manipulator using the following methods: * **Scale Manipulator:** Press \[X] on the keyboard or click on the Scale button located in the top-right corner of the 3D Scene window. * **Translate Manipulator:** Press \[V] on the keyboard or click on the Translate button located in the top-right corner of the 3D Scene window. * **Rotate Manipulator:** Press \[C] on the keyboard or click on the Rotate button located in the top-right corner of the 3D Scene window. The Transformation Manipulators will appear when a 3D object is selected. PHOTON’s Manipulators feature a standard color-scheme for its 3D coordinate system: X is red, Y is green and Z is blue. * \[Click+Drag] the handle of the axis parameter you want to modify (X, Y or Z). The handle will become yellow when selected. * The Scale and Translate Manipulators feature a yellow dot at the intersection of their axes. \[Click+Drag] the yellow dot to simultaneously apply transformations to all axes. {% hint style="info" %} Enabling a Manipulator will disable camera movements in the 3D Scene Preview. To switch back to camera control, press \[S] on the keyboard or click the Camera button located at the top-right corner of the 3D Scene. {% endhint %} {% hint style="info" %} If you want to control the camera while a Manipulator is enabled, press and hold \[S] on the keyboard. This will allow you to manipulate the camera. To switch back to Manipulator control, release the \[S] key. {% endhint %} ### 2.11.2 Freeze Transformations Freezing an object’s Transformations sets its current size, orientation and location as the new default values without modifying the object’s geometric coordinates. #### Freeze an Object * Select the object by clicking on its entry in the Scene Primitives list. * To activate the Transformations Panel press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene main menu. * Click on the \[Set Freeze] button located at the top of the Transformations Panel. * If you want to revert to the object’s initial parameters, you can unfreeze it by clicking on the \[Reset Freeze] button located at the top of the Transformations Panel. #### Why Freeze? Freezing an object sets its Calibration Points directly in relation to its new position in the 3D Scene Preview. Calibration Points are created out of a 3D object’s vertices and are the main features used during the calibration process. Therefore, it is crucial to alert the software through the \[Set Freeze] command if a 3D object’s geometric parameters have been modified before starting the calibration process. Furthermore, 3D objects in PHOTON can be linked to position and orientation data (provided by stage automation and tracking or animations). These 3D objects will move in the real world but you will want to retain their original geometric data for the purposes of display calibration. Freezing makes this possible, and facilitates accurate projection on surfaces that move. ## 2.12 Decorative Objects In the 3D Scene it is possible to add 3D objects that do not act as Screens. These 3D objects can be used to represent technical equipment, set elements, seating, etc. that are part of the real-world stage space, without being used as Projection Surfaces. PHOTON’s default behavior is to consider any 3D object added in the 3D Scene module as a Screen. As a result, these 3D objects end up being represented in the Timeline module, which might create confusion. It is possible to declare 3D objects as Decorative Objects to prevent PHOTON from automatically turning them into Screens. As Decorative Objects these 3D objects will not be shown in the Timeline module, and will be taken into account for computations related to video projection. #### Declaring a Decorative Object 1. Select the 3D object by clicking on its entry in the Scene Primitives list. 2. Press \[P] on the keyboard or select {Window > Properties} from the 3D Scene module’s menu to open the Properties Panel. 3. Click on the first dropdown menu in the {Display Options} section of the Properties Panel to change the default option from {Projection Surface} to {Decorative}. ![](/files/-LfWEyMjyoMqo6X5h5ha) ## 2.13 LED Screen Calibration LED Screens are not calibrated in the same way that Projectors are. There are many differences between the instructions for LED Screen calibration and those listed in Section 2.3 Manual 2D Keystone Calibration and Section 2.4 Manual 3D Calibration. The main differences between these approaches are the following: #### Display Type LED Screens use the LED Processor Display type instead of Projectors. Unlike Projectors, LED Processors are not automatically offered as a default Display when a new video output is declared in the Settings module. LED Processors have to be created in the 3D Scene module and then linked back to the appropriate video output. They are the only other Display type that can be linked to a video output. #### Calibration Tools Window Interface If an LED Processor Display is selected in the Calibration Tools Window list, the Calibration Tools Window interface will change and offer a new set of options that are appropriate for LED Screens. #### Calibration Technique LED Processor Displays use quads (cells featuring a quadrilateral shape) to segment, resize and position video content in a virtual 2D space. The resulting visual composition is then outputted to the real-world LED Processors connected to the LED walls. This approach facilitates content mapping for these devices. ### 2.13.1 Add an LED Processor The first step is to add an LED Processor Display in the 3D Scene module. If the project you are working on features many real-world LED Processors, you will have to add an LED Processor Display for each of them. 1. Make sure the 3D Scene module is open (by pressing \[Alt+C] or by selecting {System > 3D Scene} from the Main menu). 2. Select {Primitive > Display > LED Processor} from the Primitive dropdown menu. ![](/files/-LfWEyMknRRy3NNnM_en) The LED Processor will appear at the bottom of the Scene Primitives list. {% hint style="info" %} The LED Processor Display is not represented in the 3D Scene Preview. {% endhint %} ### 2.13.2 Add a Primitive While LED Screens are not Projection Surfaces, they still need to be represented by a 3D object. The shape of the 3D object should match the shape of the real-world LED Screen. The selected 3D object is often a plane because LED Screens tend to have a rectangular format. * To add a 3D object to the 3D Scene, select {Primitive > Default Objects > any of the objects listed here} in the Primitive dropdown menu ![](/files/-LfWEyMGEFwy7MMj-PT8) ![](/files/-LfWEyMBv547FwBP2wwf) The 3D object will appear in the Scene Primitives list, and a visual representation of it will appear at the origin (0,0,0) of the 3D Scene Preview. {% hint style="info" %} Many ready-to-use 3D objects are available in PHOTON. Referred to as Default Objects, they simplify the construction of the virtual representation of your real-world stage space. Default Objects can be selected from the Primitive dropdown menu {Primitive > Default Objects}. {% endhint %} ### 2.13.3 Scale, Move, Rotate the 3D Object It is possible to modify the shape of the 3D object in order to match the ratio of the real-world LED Display it represents. You can also position and rotate the 3D object in space to match the position and orientation of the real-world LED Display. Since the calibration process for LED Displays relies strictly on 2D texture mapping (LED Displays are not Projection Surfaces), scaling, positioning and orienting are not crucial. However, doing so is considered a best practice and will give you access to a realistic pre-visualization of the project. {% hint style="info" %} Project pre-visualization is one of PHOTON’s key features. VYV’s software can create full 3D simulations of the real-world stage space. {% endhint %} #### Applying the Transformations A 3D object’s size, position or orientation in the 3D Scene can be modified using the Transformations Panel or Transformation Manipulators. #### Transformations Panel The Transformations Panel contains multiple sliders that allow the modification of the Scale, Translate and Rotate parameters for each axis (X, Y and Z) for any object previously created in the 3D Scene module. * Select the object you want to alter by clicking on its entry in the Scene Primitives list. * To open the Transformations Panel, press \[T] on the keyboard or select {Window > Transformation} in the 3D Scene’s main menu. * To change the geometric coordinates of an object, adjust the value of the sliders. You can adjust the value of a slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on it to open a text field where you can enter a desired numeric value. The effects of these transformations can be seen in the 3D Scene Preview. The visual representation of the selected object will be modified as well. {% hint style="info" %} Slider values differ depending on the parameters they represent. The Scale sliders are not dimension sliders; they act as scaling coefficients applied to the object’s original size. For example, if the scale value of a cube featuring edges of 2 meters is changed from 1 to 4 on all three axes, the cube will now have edges of 8 meters. The Translate sliders express a value in meters. The Rotate sliders express values in angles. And the Rotate Axis sliders are used to apply a rotation expressed in an angle that corresponds to specific vectors. For example, an angle is set with the first slider while the three other sliders represent vector values for each axis that will determine how the rotation will be applied to each. {% endhint %} #### Transformation Manipulators The Transformation Manipulators facilitate direct modification of a 3D object’s parameters —Scale, Translate, Rotate — by manipulating your mouse in the 3D Scene Preview. Enable the desired Transformations Manipulator using the following methods: * **Scale Manipulator:** Press \[X] on the keyboard or click on the Scale button located in the top-right corner of the 3D Scene window. * **Translate Manipulator:** Press \[V] on the keyboard or click on the Translate button located in the top-right corner of the 3D Scene window. * **Rotate Manipulator:** Press \[C] on the keyboard or click on the Rotate button located in the top-right corner of the 3D Scene window. ![](/files/-LfWEyMnGWXnV3RTZY3v) The Transformation Manipulators will appear when a 3D object is selected. PHOTON’s Manipulators feature a standard color-scheme for its 3D coordinate system: X is red, Y is green and Z is blue. * \[Click+Drag] the handle of the axis parameter you want to modify (X, Y or Z). The handle will become yellow when selected. * The Scale and Translate Manipulators feature a yellow dot at the intersection of their axes. \[Click+Drag] the yellow dot to simultaneously apply transformations to all axes. ![](/files/-LfWEyMoYPkwKxZFFunC) {% hint style="info" %} Enabling a Manipulator will disable camera movements in the 3D Scene Preview. To switch back to camera control, press \[S] on the keyboard or click the Camera button located at the top-right corner of the 3D Scene. {% endhint %} {% hint style="info" %} If you want to control the camera while a Manipulator is enabled, press and hold \[S] on the keyboard. This will allow you to manipulate the camera. To switch back to Manipulator control, release the \[S] key. {% endhint %} ### 2.13.4 Do Not Freeze the Transformations #### Is Freezing necessary for LED Displays? Since LED Screens are not Projection Surfaces, freezing transformations is therefore useless in contexts where they act as Displays. ### 2.13.5 Map the 3D Object to the LED Processor In order to calibrate the LED Display you will need establish a link between the 3D object acting as a Screen and the LED Processor. The 3D object must be added to the to the LED Processor’s Objects Reference list. {% hint style="info" %} There is no Visibility list for LED Processors. Once added to the Objects Reference list, the 3D object is automatically “made visible” because LED Displays are not Projection Surfaces. {% endhint %} 1. Select the 3D Scene module’s Calibration mode by pressing \[4] or by clicking on the \[Calibration] button located at the top-right corner of the 3D Scene window.\ \ Once the Calibration mode is enabled, the 3D Scene Preview will turn red and the Calibration Tools Window will open in the lower right part of the 3D Scene window.
2. Select the LED Display you want to calibrate by clicking on its entry in the Calibration Tools Window list. (If you haven’t renamed the LED Display, it will be listed as “LED Processor.”)\ \ Make sure the Display Grid is enabled. The Display Grid will facilitate further operations by showing how the image texture is distributed on the Display.
3. Press \[D] or click on the gear icon button to access the 3D Scene module’s Settings menu and click on the \[Display Grid] toggle if the Display Grid isn’t already activated.\ \ Add the 3D object to the Objects Reference list.
4. In the Primitive Preset window section (below the Calibration Tools Window), select the 3D object from the {Object Reference} dropdown menu. 5. Click on the \[Add] button to add the 3D object as a Reference Object. ![](/files/-Lh11MPa5dI1eD0DcYhr) {% hint style="info" %} Multiple 3D objects can be linked to the same LED Processor by repeating the previous steps. Inversely, the same 3D objects can be linked to multiple LED Processors. {% endhint %} ### 2.13.6 Create Quads and Resample Texture The LED Processor Display uses Quads to resample video texture and assign it to segments of the real-world LED Display. In order to calibrate an LED Display, one or many Quads will have to be created, modified and distributed while respecting the ratio of the real-world LED Display. #### Create a New Quad * Click on the \[+] button located at the top of the LED Properties section of the Primitive Preset Panel in the Calibration Tools Window. An entry named “Quad1” should appear in the Quad list located below the \[+] button. Additional Quads can be created and will populate this list. #### Modifying the Quad’s Size, Shape and Texture Mapping By default, a newly created Quad has the same size as the full resolution of the output it is linked to. A new Quad is “full screen,” however, its size, shape and texture mapping can be modified to fit your needs. This can be done through two different methods: **Using the LED Options Widgets** The right side of the Calibration Tools Window contains many widgets such as dropdown menus, toggles and sliders that you can use to modify the Quad’s parameters. Below you will find brief descriptions of these options (listed from top to bottom, as in the UI): **Primitive**\ This dropdown menu assigns a specific 3D object to the selected Quad. This feature is useful in cases where multiple Screens (represented by 3D objects) are linked to the same LED Processor. **Orientation**\ This dropdown menu rotates the texture inside the Quad by increments of 90 degrees. **\[Flip]**\ This toggle enables (or cancels) the geometrical reflection of the texture along its vertical axis. **\[Flap]**\ This toggle enables (or cancels) the geometrical reflection of the texture along its horizontal axis. **Texture**\ These 2D sliders will change the size and position of the texture sampled by the currently selected Quad. **Output**\ These 2D sliders will change the size and position of the Quad in the video output. **Setting Texture Resolution**\ The texture resolution has to be set through the Screen’s texture properties. 1. Select the Screen by clicking on its entry in the Scene Primitives list. (The Screen is a 3D object you previously added to the list.) 2. Press \[P] or select {Window > Properties} from the 3D Scene menu to open the Properties Panel. 3. Set the desired horizontal and vertical resolutions using the width and height sliders located underneath the Texture section of the panel. (The sliders can be manipulated with the mouse or you can \[Double-click] on them to open text fields where you can directly input numerical values.) **Setting Output Resolution**\ You will need to set the LED Processor output resolution so it matches the resolution of its Video Output Port (the graphic card’s physical output). The resolution of the Video Output Port can be found in the Settings module. 1. Press \[Alt+S] or select {System > Settings} from the Main menu to open the Settings module. 2. Select the Server and the Output you want to monitor by clicking on the appropriate entries in the Photon Selection list and the Outputs list. The resolution of the Video Output Port should be indicated in a dropdown menu located in the Output Resolution window section. The resolution of the LED Processor output can be set in the 3D Scene module. * Press \[Alt+C] or select {System > 3D Settings} from the Main menu to open again to the 3D Scene module. * Select the LED Processor from the Calibration Tools Window display list by clicking on its entry. The height and width sliders located in the LED Properties window section of the Calibration Tools Window can be used to set the LED Processor output resolution. * Enter the horizontal resolution value of the Video Output Port using the width slider by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. * Enter the vertical resolution value of the Video Output Port using the width slider by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. **Offset the Output**\ The width and height offset sliders can be used to offset the entire output. {% hint style="info" %} The LED Processor’s output resolution has to match the resolution of the Video Output Port found in the Settings module. {% endhint %} **Direct Quad Manipulations in Calibration Tools Window Preview**\ You can manually resize and position the Quad in the video output by using your mouse. To modify the texture’s parameters follow these steps: * Select the Quad you want to resize or position by clicking on its corresponding entry in the Quads list in the LED Properties window section or \[Double-click] on its representation in the Calibration Tools Window Preview. * \[Click+Drag] inside the Quad to reposition it in the video output. * \[Click+Drag] the corners of the Quad to resize it. Holding the \[Shift] key while performing the \[Click+Drag] actions on the Quad will increase the mouse’s precision. {% hint style="info" %} You will usually input exact values in the Texture and Output 2D sliders located in the LED Options widget rather than perform direct manipulations on the Quads since LED Displays require pixel-perfect precision. However, you can use the manual method to rapidly get a rough preview of the final LED mapping. {% endhint %} {% hint style="info" %} The coordinates of the texture’s top-left corner are 0,0 (which is standard in the LED industry). {% endhint %} #### LED Processor View Modes You can switch between two different view modes in the Calibration Tools Window Preview when an LED Processor is selected. * Select either the {Texture} or the {Output} option from the View Mode dropdown menu located in the LED Properties window section of the Calibration Tools Window. **Output View Mode**\ Shows what is sent to the Video Output Port (the graphic card’s physical output). **Texture View Mode**\ Shows the section of the Screen’s texture that is resampled by the selected Quad. ### 2.13.7 Assign the LED Processor to an Output In order to output video from the graphic card connector to the real-life LED Display, you will have to link the LED Processor to one of the Virtual Video Outputs in the Settings module. 1. Press \[Alt+S] or select {System>Settings} to open the Settings module. 2. Click on the entry corresponding to the Server you want to calibrate from the Photon Selection List. 3. Once the Server is selected, make sure you identify the Virtual Video Output corresponding to the Video Output Port connected to the real-world LED Display. If the Virtual Video Output is missing, click on the \[+] button to create a new one. 4. Select the LED Processor you want to assign to the Virtual Video Output by using the dropdown menu located to its right. ![](/files/-Lh11jESlQcmHeYjeMx4) # Hierarchy Rendering In situations where multiple objects need to be tracked independently but you still want to program it as one screen, or you want to work in one canvas for different objects sharing the same UV space, or simply because you are accustomed to this way of working you can use the hierarchy rendering in Photon. One of the best example of this, and the first project the tool was used on, is Singapore National Day in 2016: ![](/files/h6ripy94M12sFgtQZ5JD) See video report here: The flying city was made out of 99 individual objects that needed to be tracked individually. 99 distinct objects were thus required in Photon’s 3D scene. ![](/files/907AnCxBtvv3WUw03wa7) Content was delivered as one piece of media covering entire sections of the city as one UV: ![](/files/rScX6Nc6ElM72qCqD5mJ) In Photon when you add 3D objects in the 3D scene, it automatically creates a Timeline Screen for that object: ![](/files/lw2bvvNu8yml0LuzYpL4) Imagine programming on 99 screens at the same time ? impossible right ? That’s where Hierarchy Rendering comes into play by allowing you to work with a collection of individual elements as if it were one single object: ![](/files/HEKi93Dz8tJ54iVqU2F6) #### To Create a Hierarchy Rendering (aka one screen in the timeline but multiple independent objects in the 3D Scene.) In the 3D Scene, Select the parent of a hierarchy in the object list
**NB: The parent can be a Null from an .FBX file or any 3D Object with the exception of a Photon Null.** Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the Object Properties panel. **In the Hierarchy rendering dropdown menu change {none} for {Parent}** ![](/files/c0M37SWvzavHQ8Fxc7uK) **Voilà!** ![](/files/AS20D858ZdqgWkOWxFky) You can now edit your videos on multiple 3d objects sharing one uv space in a single timeline. #### ![](/files/Bbzhju93raTC6XeUGgxl) ![](/files/SfO1ZvYfKYdO2bQgLiOs) ### **New Features** (available in the next show release) **Complete UV Preview** Prior to Photon 10.6 the only piece of UV you would be able to see in the Preview is the parent. Now the entire UV is displayed when using the UV preview function in the preview window. ![](/files/sbmntPph1EYKT5c0SURG) **Snap to UV** You can now select one of the objects in the hierarchy and snap a texture to its UV coordinates: PHOTON will automatically scale and position the image or video onto that specific object inside the UV space. ![](/files/vw12KkDEqrjY6vaHYkG2)\ Select the object you want the texture to be snapped on in the dropdown menu. Select the clip(s) you want to modify ![](/files/22sfDVo5pOcOmWPODJLI) Press the Snap to UV button. ![](/files/ahK4wnHaQoG7cEY7hJ8p) # 3. Importing Content # 1. File Manager ## 1.1 File Manager Overview The File Manager is a module dedicated to importing and converting media files. It also allows you to create media playlists, sort files imported on the servers, and can be used to recall Timeline media clips when programming a show ([see Section 2.2 Adding Media in Chapter 4 Programming a Show](/user-guide/4.-programming-a-show/2.-timeline#add-clips)). ![](/files/-Lfu-NWtYU4Bq0ioMGWL) The File Manager window can be divided into 5 window sections: #### Media Files List This list contains all of the media files (images, video, sound, 3D Models) that were imported in PHOTON ([see Section 4. File Management and Display in Chapter 3 Importing Content](/user-guide/3.-importing-content/03.04-files-management-and-display)). ![](/files/-Lfu-NWuXFx3T73W1Zm9) #### Module Top Section The window’s top section contains a series of buttons and toggles that include checkboxes, as well as a search field. The buttons and toggles support a wide range of functions, including media file import and conversion, and Media File list display categorization (described in subsequent sections of this chapter). ![](/files/-Lfu-NWvBgBeGuo2W2Tr) Playlist and Sorting Tool. The left section of the File Manager window contains a list of toggles that correspond to different media categories and control which items will be shown in the Media Files List ([see Section 4.**4** Files Visibility and Media Category in Chapter 3 Importing Content](/user-guide/3.-importing-content/03.04-files-management-and-display#4-4-file-display-and-media-types)). A \[+] button located underneath the sorting tool will allow you to create custom Playlists from selected media files ([see Section 5.1 Playlist Creation in Chapter 3 Importing Content](/user-guide/3.-importing-content/playlists#5-1-playlist-creation-and-management)). ![](/files/-Lfu-NWwwWSZR7CRjkBJ) #### Media Preview Panel The top right part of the File Manager window is dedicated to media preview. ![](/files/-Lfu-NWxyNuRLqrgQ2NV) * Select a media file from the Media Files List by clicking on it. * Click on the preview button to watch a preview of the content, or scroll through content by clicking and dragging the time slider located beneath the window. * To hide or show the Media Preview window, click on the play toggle located in the window top section. {% hint style="info" %} The Media Preview Panel has audio playback capabilities. If a playback device is set up in the I/O Manager, sound might play (there is a \[Mute] button at the end of the timeline). {% endhint %} #### Task List The lower right part of the File Manager window contains a list where the progress of Import and Conversion tasks is shown in sequential order. ![](/files/-Lfu-NWyhNhtN7_pJWVm) The Task list has 3 slots for importing media files (copying media files via the network to the devices in the Server Group) and 3 slots for media conversion (creating local VCI copies of the original media files; VCI is VYV’s own uncompressed file format). Ongoing tasks can be: * paused by clicking on the button; * resumed by clicking on the button; * cancelled by clicking on the button. These actions will impact the entire Task list. Other actions, such as “re-prioritize” or “cancel a single task,” can be achieved by using the contextual menu which can be opened by right-clicking on a task. To hide or show the Task list, click on the toggle located in the window’s top section. ## 1.2 File Manager Settings Click on the button to open the File Manager Settings window. This window contains various parameters that will affect PHOTON’s behavior when performing media imports and conversions. ### 1.2.1 Import Settings This section contains 2 checkboxes: * **Enable Image Sequence:** This option supports the creation of a single container for video rendered from .jpeg, .png, .tga or .tiff image sequences. * **Refresh model library after import:** If activated this option will enable an automatic refresh of the model library after an import. If deactivated, it will prevent 3D models imported through the File Manager from loading automatically in the 3D Scene in memory. This option can be useful if you don’t want servers to stutter during a viewing session but still need to import 3D objects. {% hint style="info" %} The VCI created from an image sequence will automatically have your project’s frame rate (see Settings > General). {% endhint %} ### 1.2.2 Splitting When dealing with very large media files and Screens, you might have to split your content in order to be able to play it back and apply crossfades between files. ![](/files/-Lfu-NWzQ-xyRQR7dEdh) With the Splitting dropdown menu you can select 3D Models functioning as Screens, and activate media splitting. This function will split media files during conversion, and only select the portions of the media files needed by the servers for playback. ![](/files/-Lfu-NX-RGd00DyfMs4P) In order to access the screens through the menu, they should already be instantiated in the 3D Scene and their \[Splitting] toggle should already be activated through their {Properties > Blending Options} panel. For PHOTON to know which portion of the media file each server needs for playback, outputs have to be set correctly and the projectors assigned to them must be calibrated with the screen. #### Splitting for Multiple Screens If split content needs to be sent to more than one server in a project (this might happen if content is used in different Screens), you will have to change the screen splitting selection. You will also have to re-convert the files for the other screens because this option only allows you to split content for one screen at the time. ### 1.2.3 Conversion Settings This section contains 2 checkboxes: * **Auto Convert After Import:** If this option is selected, media conversion will start automatically when media is imported. * **Delete Original Media After Conversion:** If this option is selected, original media files such as .mov or .png will be deleted once they are converted to VCI. While this frees up disk space, it might prevent you from synchronizing your media from scratch in cases where a new server is integrated in the Server Group. (Note that this action will delete files previously copied on the servers, but not the original files residing on a network drive.) ![](/files/-Lfu-NX06APfL42proXN) ### 1.2.4 File Format Conversion Dropdown Menu Selecting an item in this menu will determine the destination file format for conversions**.** The menu contains 3 items: * **VCI:** VYV’s video file format that does not feature any time compression. It should be the preferred format. * **VCI Compressed:** VYV’s video file format featuring time compression similar to H.264. ### 1.2.5 Mpixel Limit Sliders This section contains 2 sliders: * **Mpixel Limit Slider:** This slider will set the megapixel threshold for Display Servers and Display Master Servers. If the media file resolution is greater than the import threshold PHOTON will automatically reduce the resolution so it respects the megapixel limit. * **Preview Mpixel Limit:** This slider will set a megapixel threshold for Controller Servers. Since the Controller will playback all of the screens in your installation, it will reduce the size of your media files. If the media file resolution is greater than the import threshold PHOTON will automatically reduce the resolution so it respects the megapixel limit. ### 1.2.6 GPU Conversion Toggle PHOTON’s file conversions are usually done by the server’s GPU (Graphics Processing Unit). This option for converting files has been the default since Windows 7 build 7264. The GPU can be changed so the Central Processing Unit (CPU) can take care of the conversion tasks. Note that some encoding formats (YUV422 and YV12 for example) do not allow GPU conversion and will disable the GPU conversion option. ### 1.2.7 Video Encoding Format Dropdown Menu This dropdown menu allows you to choose the type of color encoding system that will be used when converting video files. | FORMAT | | | ----------------------------------------------------- | -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | |

YUV 4:2:0

| encoding format where the chroma channels are sampled at half the rate of luma, occupy half the horizontal resolution and are interlaced. | |

YA16 - (4:2:0 + alpha)

| same as YUV 4:2:0 but includes a channel dedicated to alpha content. This encoding system is our preferred option because it is the only one that allows our system to split media content in real time. | |

YUV 4:2:2

| encoding format where the chroma channels are sampled at half the rate of luma. | |

RGB 4:4:4

| fully uncompressed. | |

Auto

| automatically choose between YUV 4:2:0 and YA16 depending on the presence (or not) of an alpha channel. | ![](/files/-Lfu-NX1_I1zkPVuX-Js) ### 1.2.8 Task Group Selection List Each entry in this list corresponds to one of the servers included in the Server Group (their names are preceded by checkboxes). All of the servers with a green check mark in the checkbox will be included in file import and conversion processes because they are part of the network ring. # 2. Imports Content imported into a PHOTON Project will be distributed to all servers in the Server Group. This behavior reflects the structure of the PHOTON Network ([see Section 1.1 PHOTON Network in Chapter 2 Setting Up a Show](/user-guide/2.-setting-up-a-show/1.-settings#1-1-photon-network)), which uses a ring topology to ensure that content is distributed through all of the servers without relying on a central node. When an Import command has been issued from a Controller Server or a Display Master Server, the system will maintain the integrity of media files as they are being distributed to all devices. The use of a network ring makes PHOTON resilient to potential connectivity failures and facilitates the creation of live back-ups. Servers operating under Albion System Mode {Settings > Photon} will only receive 3D object files and will be discarded from the network ring when media files are transferred. ## 2.1 Importing 3D Objects 1. Click on the Import button located in the top left corner of the File Manager window. 2. A Windows dialog box will pop up, allowing you to search for and select the file you want to import into your PHOTON Project. 3. To filter out other items — unneeded video, image or audio files — select 3D Files from the dropdown menu located on the right. 4. Use the folder tree structure to locate your files. You can select and import multiple files at the same time. Select the files you want to import by clicking on them. 5. Once all of your files are highlighted, click on the \[Open] button. ![](/files/-Lfu12XmPg34mdeTwDIO) ## 2.2 Importing Media 1. Click on the Refresh button located in the top left corner of the File Manager window. 2. A Windows dialog box will pop up, allowing you to search for and select the file you want to import into your PHOTON Project. 3. To filter out other items — unneeded video, image or audio files — select Video Files, Image Files or Audio Files from the dropdown menu located on the right to. 4. Use the folder tree structure to locate your files. You can select and import multiple files at the same time. Select the files you want to import by clicking on them. 5. Once all of your files are highlighted, click on the \[Open] button. ![](/files/-Lfu12XnqLS8_aPfObp9) ## 2.3 Import Folder You can access the Import Folder by using the VYV custom file dialog. Select a root folder and press the \[Import Folder] button. PHOTON will automatically scan all of the child folders selected and import all relevant files contained in this folder structure. ## 2.4 Import Order Management When importing a large number of files, you might be asked to display one or more files on the Screens before displaying others. While the Media Task list displays all of the files waiting to be imported, it is possible to prioritize the import of files in the list by right-clicking on a file’s name and selecting {Move On Top}. This action will change the order of priority for importing and converting files. ## 2.5 Pause/Resume/Cancel Imports The Task list located in the lower right part of the File Manager window facilitates the management of ongoing imports. Imports can be: * paused by clicking on the Pause button; * resumed by clicking on the Resume button; * cancelled by clicking on the Cancel button. These actions will impact the entire Task list. Other actions, such as “re-prioritize” or “cancel a single task,” can be achieved by using the contextual menu, which can be opened by right-clicking on a task. # 3. Conversions In order to playback visual content in PHOTON, you have to convert your media files — .jpeg, .png, .targa, .tiff, .mov, etc. — to the .vci file format. .vci media conversion does not compress media. Prior to file conversion, you should choose what kind of video encoding you will apply to the media content. Compression can only be done in color space. PHOTON is a frame accurate system and does not support temporal or spatial compression. ## 3.1 Conversion Options 1. Click on the Settings button to open the File Manager Settings window. 2. Use the Color Encoding Format dropdown menu to select the color encoding system that will be used during conversion: | FORMATS | | | | ------------------------------------------------------------- | --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | ---------------------------------------------------------------------------------- | |

YUV 4:2:0 | (YV12) (12bpp)

| encoding system where the chroma channels are sampled at quarter the rate of luma. | |

YA16 - (4:2:0 + alpha) (16bpp)

| Preferred for projection, natural scene content and most content in general because it uses half the data rate by sacrificing half the color resolution in both direction. This proportion tries to mimics the distribution of cones and rods in human eyes, approximating that we perceive intensity resolution a lot better than color resolution. Also includes full rt-splitting support. | | |

YUV 4:2:2 (16bpp)

| encoding system where the chroma channels are sampled at half the rate of luma. No Alpha Channel support. | | |

RGB 4:4:4 (24bpp)

|

fully uncompressed.
Automatically promoted to RGBA4444 when source has alpha (32bpp)

| | |

Auto

| automatically choose between YUV 4:2:0 and YA16 depending on the presence (or not) of an alpha channel. | | ![](/files/-Lfu1XsHf8SZLDeoCy4c) ## 3.2 Convert Media Files 1. Make sure you have selected the appropriate Color Encoding Format before starting media conversion ([see article 3 .1 Conversion Options in Chapter 3 Importing Content](/user-guide/3.-importing-content/03.03-conversions#3-1-conversion-options)). 2. Make sure the media file you are about to convert was properly imported into all of the servers in your Server Group. ![](/files/-Lfu1XsIRNMS6dJ0zglB) Look at the Media Files List. The first column to the left should be titled “Net” (if the column is missing from the table, right-click in the header to add “Net” with the help of a contextual menu). A green check mark should precede all of the original media files that you want to convert. If a media file is preceded by a red X mark, it means the file wasn’t properly imported into all of the servers in the group. This problem can be solved in different ways depending on its cause: | | | | -------------------------------------------------------------------------- | -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | | **The Media Files List was not refreshed:** |

Click on the Refresh button located at the top left corner of the File Manager window to refresh the Media Files List.

| |

The import was not completed:

|

Check the Task list in the lower right corner of the File Manager window. Media files might still be importing or the import could have failed.

| |

A server was removed from the Server Group:

| Return a server to the network ring by rebuilding the Server Group in the Settings window and relaunching the Conversion (or relaunch Import if the media file is missing). | ![](/files/-Lfu1XsJzR6MnQk-AJ4z) When the media files are consistent on all of the servers in the network, you are ready to start the conversion. * Select the original files you want to convert by clicking on their name in the Media Files List and then click on the Convert button . You can also select files that you want to convert by right-clicking on entries in the Media Files List to open a contextual menu and then selecting {Convert}. ## 3.3 Pause/Resume/Cancel Conversion To manage media files while they are being converted use the Task list module located in the lower right part of the File Manager window. Conversions can be: * paused by clicking on the Pause button; * resumed by clicking on the Resume button; * cancelled by clicking on the Cancel button. These actions will impact the entire Task list. Other actions, such as “re-prioritize” or “cancel a single task,” can be achieved by using the contextual menu which can be opened by right-clicking on a task. ## 3.4 Conversion on Display Servers or Display Master Servers Conversion is not an instantaneous process. The Task list will display a “Conversion Net” rate (measured in percentages), which indicates how much of the original media file has been converted on the Display Servers (or Display Master Servers) in the network. The conversion process will create downsized media files on Controller Servers. This speeds up the process and provides early access to the files so you can begin to place them in the Timeline and preview content right away. Keep in mind that the files will probably still be converting on the Display Servers (or Display Master Servers) and images won’t be projected until this process is completed. ![](/files/-Lh12wFJCZSAsHiBoSTy) # 4. Files Management and Display ## 4.1 Media Files List By selecting the detailed Media Files List format – it is selected by default, but you can also manually select it by clicking on the Show Detail View button – you will have access to data related to a selected media file’s resolution, FPS, duration, etc. The Media Files List features columns that display this data. If you want the Media Files List to show or hide specific kinds of media file data, right-click in the header. A contextual menu will open and allow you to alter the list’s columns (and therefore, its data categories). The “Net” column in the Media Files List will show a green check mark if a specific file has been imported and is available on all of the servers in your Server Group. If there is a red X in the “Net” column, the file is not currently available on all servers in the network. Moving the mouse cursor over the column will display a pop-up window that indicates which servers have the file and which do not. You can interact with the items in the Media Files List by right-clicking on them. Doing so will open a contextual menu that lets you: * Delete a file; * Convert a file (only on original files); * Sync Selected, which synchronizes a file on all servers in the Server Group (this is useful if you added a new server to a PHOTON Project or are missing a file on a specific server); * Force Refresh a file’s thumbnail; * Show in Folder, which opens a Windows file explorer in PHOTON’s “content” folder where the selected file is highlighted. ## 4.2 Display the Media Files List as Thumbnails or as a Detailed List The Media Files List can be viewed as a series of thumbnails or as a list that includes detailed information about the files. ### Show Thumbnail View Click on the Show Thumbnail View button located in the top left corner of the File Manager window to view the Media Files List as thumbnails. ### Show Detail View Click on the Show Detail View button located in the top left corner of the File Manager window to view the Media Files List as a detailed list. ## 4.3 File Order Items in the Media Files List can be arranged in an order based on their attributes, so long as they are represented by a data category in the list’s table. 1. Move the mouse cursor over the top row of the Media Files List table that shows the data categories. Arrows pointing upward and downward should appear near each data category. 2. Click on the upward arrow to sort files in an ascending order. 3. Click on the downward arrow to sort files in a descending order. {% hint style="info" %} The order chosen for a specific playlist in the File Manager module will be shared in the Media Properties window section of the Timeline. {% endhint %} ## 4.4 File Display and Media Types The left section of the File Manager window contains a list of toggles that represent different media types. The toggles can be used to select a specific media type and filter out the other kinds of media contained in the Media Files List. ![](/files/-Lfu2HHIoup0K3cEkX6Y) ## 4.5 File Search There is a search field at the very top of the File Manager window that will allow you to look for specific files in the Media Files List. * To find a specific file in the Media Files List type its name into the search field. {% hint style="info" %} File extensions are also taken into account. For example, by typing “.png” in the search field, you will limit your search to .png files. {% endhint %} ## 4.6 Group Original and Converted Files The Group checkbox allows you to create a parent-child group where the original media file and the .vci version of it will be included. ![](/files/-Lfu2HHJW7C0eozuiBnr) ## 4.7 Hide Original Files The Hide Originals checkbox allows you to mask original media files. .vci files that were created from these originals by means of conversion are the only ones that will be shown. ![](/files/-Lfu2HHK2lc7nLKEdrnk) ## 4.8 File Synchronization Normally, all files should be present on all servers, therefore allowing any server to backup the others at any time. If all of a PHOTON Project’s servers were included in the Server Group prior to importing files, this should be the case. There are very few exceptions to this. (The ALBION Server is an exception, and will not have a local copy of media files.) If for any reason a media file is missing on one of the servers, you can synchronize the selected file across the network. This operation will send the file to every server, where it will be reconverted. * Right-click on the file in the Media Files List and select {Sync Selected} from the contextual menu to launch synchronization. ![](/files/-Lfu2HHLLW8E5e2idciU) {% hint style="info" %} To be able to synchronize a media file across the network, the server from where the operation is being launched must have the original file .vci files cannot be synchronized. {% endhint %} # 5. Playlists Playlists are collections of media files created by users. They are helpful when programming shows because they can provide access to categorized media content banks. They should be considered a must for shows that use numerous media files. ## 5.1 Playlist Creation and Management A \[+] button located under the Sorting Tool (the itemized column on the left side of the File Manager window) will allow you to create Playlists from selected media files ([see Section 5.1 Playlist Creation in Chapter 3 Importing Content](/user-guide/3.-importing-content/playlists#5-1-playlist-creation-and-management)). ![](/files/-Lfu2wxLQFdKXRxm8uEa) * Press the \[+] button to create a new Playlist. * Drag and drop media files from the Media Files List onto the “New Playlist.” They will be added to the Playlist. * By clicking on a Playlist, the Media Files List will only show files that have been added to that specific Playlist. * By selecting a Playlist and starting an Import, all of the imported files will automatically be placed in the Playlist. * Deleting a Playlist will not delete the media files identified in it. It will only delete the list. * Playlists can be duplicated, deleted and renamed by using a contextual menu. Right-click on a Playlist to access this menu. * By right-clicking on selected Media clips in the Timeline a contextual menu will open and offer the {Create Playlist with Clips} option. If this option is selected, a Playlist containing the selected media files will be generated. # 6. File Versioning Only in PHOTON v10 **Description** A file versioning system allows PHOTON users to automatically specify which version of a file will be linked to a Timeline’s Media Clip. **Requirement** File versions have to respect the following naming convention: *anyfilename* \_V### For example, multiple versions of a media named *nightsky* would be named *:* nightsky\_V001, nightsky\_V002, Nightsky\_V003, etc. **Settings** 1. Select {System > Settings} or press \[Alt+S] to open the Settings module. 2. Select the General tab of the Settings module. 3. Select File Manager Settings panel from the list. 4. Locate the Preferred section. 5. Activate the \[Enable Preferred Version] toggle. 6. Activate the \[Preferred Latest Version] toggle. ![](/files/-MYpMmYSzpyf2Qr0RVgo) **File Manager** 1. Select {Show > File Manager} or press \[Alt+F] to open the File Manager module. 2. Click on the Import New Media button to open the “Import file(s)” window 3. Perform a group selection of the multiple versions of the media file. (Naming convention: *anyfilename* \_V###). ![](/files/-MYpNInz5K2avHYV1n5m) **Timeline** 1. Select {Show > Timeline} or press \[Alt+T] to open the Timeline module. 2. Make sure the File Manager module is still open. 3. \[Click-drag] a media file included in the version collection from the File Manager list onto the Timeline. 4. If the {Preferred Latest Version} toggle is activated, the latest imported version will be displayed. A star will be displayed in the clip icons indicating a newer or preferred version is in use. ![](/files/-MYpN8CYozOieKcbB08W) **Select/Unset Preferred Version in the File Manager** 1. Navigate back to the File Manager. 2. Right-click on the version you want to use. 3. Select {set preferred} from the contextual menu. A Mario star will now indicate it is the preferred version. OR 1. Select {Unset Prefered} from the contextual menu. The selection will default back to the latest version if the \[Preferred Latest Version] toggle is activated or the version currently set in the clip if the \[Preferred Latest Version] toggle is deactivated. ![](/files/-MYpNrQs_cwqKeDx6Ix2) \ **Warning: This will be applied to ALL clips using one of the media in that collection.** # 4. Programming a Show # 1. Cue Editor The Cue Editor module facilitates the creation of cues. Cues are pre-recorded series of actions and parameter modifications set in a specific order of execution. This sequence of actions can be affected by variables such as delays, timings and target values. In other words, any parameter, slider, toggle, or dropdown menu found in PHOTON’s UI can be affected by a cue. Cues can be recalled in various ways and function like programmable macros found in other types of systems ([see Section 1.8 Triggering a Cue in Chapter 4 Programming a Show1. Cue Editor](/user-guide/4.-programming-a-show/cue-editor#1-8-triggering-a-cue)). Cues can even execute complex technical procedures such as seamless live backup switching. {% hint style="info" %} Since cues are recalled states of parameters, no change will occur in the software if the targeted parameters are already set at the state specified in the cue. For example, if a pre-programmed cue containing an event that would set the Master Contrast slider to the value of 100 is triggered while the Master Contrast slider is already at 100, nothing will happen. {% endhint %} {% hint style="info" %} Since cues can recall parameter changes, it might be tempting to use them to create animations. Do not do this. Cues are not the proper tool to create animations through interpolations between values. They should only be used to push predefined states during the linear unraveling of a show. If you wish to create animations please refer to the Keyframe Editor module (see Section 8 Keyframe Editor in Chapter 4 Programming a Show). {% endhint %} ## 1.1 Cue Editor View Modes ### 1.1.1 Open the Cue Editor * Open the Cue Editor by selecting {Show > Cue Editor} or by pressing \[Alt+Q]. If the Cue Editor appears as a small column, it is set in View List mode, which is the small-scale representation of cues designed for operation. The View List mode is meant to show pre-programmed cues that are to be recalled. It is not used for creating new cues. ![](/files/-Lfu8Ne73pxFduZTRdsm) If you wish to create new cues, you will need to switch the module to View Full mode. ### 1.1.2 Toggle Full View or List View * To expand or reduce the Cue Editor select {View > View Full} or {View > View List} or press \[V] on the keyboard to toggle between the two view modes. ![](/files/-Lfu8Ne8lWLQ1dPjr5Pg) The top part of the of the left column shows Cue playlists ([see Section 1.7 Cue Playlists in Chapter 4 Programming a Show](/user-guide/4.-programming-a-show/cue-editor#1-7-cue-playlists)), while the bottom part shows the available pre-programmed cues organized into the Cue list. The search field located at the top of the column lets you filter the list of cues by entering characters. In View Full mode, the module’s window will expand to the right in order to reveal the Edit cue window section. This is where you can adjust all the timings, delays, actions order, etc. for newly recorded cues. At the bottom right of the module’s window you will find the Progress view window section, which is where you will be able to follow the progress of cues being executed. ## 1.2 Cue Recording ### 1.2.1 Create a New Cue * To create a new cue, press the \[+] button at the bottom left part of the module. The new cue will appear at the bottom of the Cue list. ### 1.2.2 Record Actions in a Cue * To record actions in a new cue, press the \[Record] button at the top right of the Edit Cue window section. If the Cue Recording mode is activated, the entire UI will turn red and you will see the words “Cue Recording” at the bottom right of the screen. ![](/files/-Lfu8Ne94o9tXcvLOs0z) If the Cue Recording mode is activated, every time you click on a slider, toggle, list, parameter, etc., they will appear as actions in the Edit Cue window section ([see Section 1.1 Cue Editor View Modes in Chapter 4 Programming a Show](/user-guide/4.-programming-a-show/cue-editor#1-1-cue-editor-view-modes)). * Press on the \[Record] button again to stop cue recording. ## 1.3 Editing the Cue Actions List Once you have recorded all of the actions needed for a new cue, you can edit the cue’s Actions list. Actions within a cue can be reordered by dragging and dropping their names in the list. ![](/files/-Lh13m03SFsnHkpCtdYM) ### 1.3.1 Reorder Actions in a Cue Actions can also be reordered by clicking on the \[Delay] button at the top of the Delays column in the Edit Cue window section. A sort will be performed on the Actions list to arrange them based on their delay time (from the lowest delay time to highest). ![](/files/-Lfu8NeA8OyUCgfoklm2) ### 1.3.2 Delete, Duplicate or Rename Actions in a Cue * Right-click on the name of any action within a cue to open a contextual menu to delete, duplicate or rename the action. ![](/files/-Lh14BqcyinsNxviRPo5) {% hint style="info" %} You don’t have to be in Cue Recording mode to edit a cue. {% endhint %} ## 1.4 Modifying Cues There are 5 parameters that can be used to modify cues: Delay, Offset and Multiple Delays, Timing, Target Values and Easing. ### 1.4.1 Delay Delays are absolute time values that can be understood as a “wait time” before an action is executed. To delay the execution of an action, use the Delay slider beside it to set a time. You can also double-click on the Delay slider and enter a specific duration in a text field. {% hint style="info" %} Keep in mind that even if the actions inside the cue are organized as a sequence, individual delay times for actions are not cumulative. For example, Action #1 has a delay time of 4 seconds and Action #2 has a delay time of 2 seconds. Even if Action #1 is the first in the list, it will be executed after Action #2 since its delay time is higher. In this example, Action #2’s delay time is definitely 2 seconds not a cumulative 6 seconds. {% endhint %} ### 1.4.2 Offset and Multiple Delays The time slider and the \[Apply Offset] button at the top of the Actions list allow you to automatically offset the delay value for all of the actions selected for a cue. Follow these steps to apply an offset to multiple actions: 1. set a value in the time slider; 2. select the actions you want to be affected by the offset by pressing \[Shift+right-click] on the first and the last actions that you want in the list, or press \[Ctrl+right-click] to select actions that aren’t listed consecutively; 3. press the \[Apply Offset] button. All the selected actions will be offset by the value set in the time slider from top to bottom. ### 1.4.3 Timing Parameter changes can be interpolated over time. Timings are values that will determine how much time the change will take. Some actions, like a true/false toggle, will not allow the use of timings because they are restricted to parameters linked to sliders. * To set a timing for an action, use the time slider beside it to set a time. You can also double-click on the time slider and enter a specific time in a text field. ### 1.4.4 Target Values When created, some actions specify a target value to be reached on the execution of the cue. You can change this value after the cue has been recorded if you want to make adjustments. * To change the target value of a specific action click on the Target Value cells that you want to modify. Depending on the type of data represented, you might have access to a simple toggle or a slider. For a slider, double-clicking on the Target Value cell will open a text field where you will be able to enter the desired value using your keyboard. ### 1.4.5 Easing Interpolation created through the use of the timing variable is expressed in a linear way. Under certain circumstances (to smooth a transition, create an expressive transformation, etc.), it might be appropriate to ease in and out of the linear progression from the initial value to the target value. * To ease in or ease out of an action, click and drag the Ease in or Ease out sliders to select a value, or double-click on the sliders to set values through a text field. ## 1.5 Rename, Duplicate or Delete Cues from the Cue List Cues can be renamed, duplicated or deleted from the Cue list. ### 1.5.1 Rename a Cue * Right-Click on the cue to open a contextual menu from which you will select {Rename}. ### 1.5.2 Duplicate a Cue * Right-Click on the cue to open a contextual menu from which you will select {Duplicate}. ### 1.5.3 Delete a Cue * Right-Click on the cue to open a contextual menu from which you will select {Delete}. * You can also delete the cue by selecting it and pressing \[delete] on your keyboard. ## 1.6 Nested Cues Nesting allows the incorporation of autonomous structures into other structures. For example, video editing software facilitates the integration of pre-edited sequences into other sequences. PHOTON allows the nesting of cues into other cues. This means that cues, which are already sequences of actions, can in turn be placed and recalled within larger sequences. This makes it possible to construct complex cues that trigger multiple actions and, with a combined use of delays, the automation of tedious tasks and interventions. ### 1.6.1 Nesting a Cue * To nest a cue within a cue, recall the cue you want to nest while Cue Recording is enabled for the “meta-cue.” {% hint style="warning" %} A safety mechanism is in place to prevent the creation of infinite loops in nested cues. {% endhint %} ## 1.7 Cue Playlists The Cue Editor facilitates the creation of Cue playlists, which are specially arranged collections of cues that make programming a show much easier. ### 1.7.1 Create a Cue Playlist * Press the \[+] button in the top left part of the Cue Editor to create a Cue playlist. ![](/files/-Lfu8NeBldvphErwhI5Z) ### 1.7.2 Add a Cue to a Cue Playlist * Drag and drop the cue from the bottom left to the top left in the desired playlist. ### 1.7.3 Remove a Cue from a Cue Playlist * Right-click on the cue to open a contextual menu from which you will select {Remove}. ## 1.8 Triggering a Cue Cues can be triggered using the following methods: ### 1.8.1 Manual Trigger * Click on the \[GO] button next to a cue in the Cue playlist. ### 1.8.2 Timeline Trigger * Create a Cue Clip type on the Timeline ([see Section 2.2 Clip Type in Chapter 4 Programming a Show](/user-guide/4.-programming-a-show/2.-timeline#2-2-clip-types)) and assign the desired cue to it. As soon as the playhead intersects with the clip, the cue will be triggered. ### 1.8.3 Midi Trigger * Create a mapping between the \[GO] button in front of the cue and a button located on a midi board by using the Mapping Manager module. The cue can then be recalled through interaction with the external MIDI device. ### 1.8.4 UDP Trigger * Use the Project’s Show Control port found in {Settings > Network} to send a UDP command from a third-party software. # 2. Timeline The Timeline module can be broken up into different subsets of tools. Each subset corresponds to a specific window section of the Timeline module (with the notable exception of the Color Correction Tools which have their own window). This section of the manual focuses on the Timeline Editor window section, which is used for organizing media, cues, effects, etc. The lower section of the Timeline window is called the Timeline Editor and regroups the tools you will use to edit a Show. Shows are constructed by placing Clips sequentially in the tracks of the Timeline. The horizontal axis of the Timeline shows the time progression of a Show, expressed in *hours:minutes:seconds:frames*. Screens (see Section 2.1.2 Screens in Chapter 4 Programming a Show) are positioned on the vertical axis of the Timeline. Each Screen can contain one or many Layers, which in turn contain different types of Clips: media, cues, effects, etc. ## 2.1 Sequences, Screens, Layers and Clips Many different structures are used to organize media, cues, effects, etc. on the Timeline. Make sure you have a good understanding of what these structures do and how they are used. The following sections of the manual (from 2.1.1 to 2.5.4) provide information on how Sequences, Screens, Layers and Clips are used. ### 2.1.1 Sequences A Sequence contains all of the Screens, Layers and Clips used in a project, and it provides a representation of the Show’s temporal structure. This is where you will organize and edit media, cues, effects, etc. A project can have multiple Sequences, but you can only render one Sequence at a time (i.e. the Sequence that is currently selected). Additional Sequences can be used as editing bins to build specific segments of a Show or to hold alternative versions of it. ![](/files/-LgXlfFLG59p1Bp2loqh) #### Select a Sequence To select a Sequence: * Click on a Sequence tab to activate a specific Sequence and access its content. #### Create a Sequence There are three ways to create a new Sequence: * Click on the \[+] button located to the right of the Sequence tabs; or * Press \[Ctrl+T] with the Timeline module in focus; or * Select {File > Add sequence} from the Timeline menu bar. #### Delete a Sequence To delete a Sequence: 1. \[Right-click] on the tab linked to the Sequence you want to delete. This will give you access to its contextual menu. 2. Select {Delete} from the contextual menu. ### 2.1.2 Screens Any 3D object that was created or imported in the 3D Scene will become a Screen (with the notable exception of Decorative Objects). Screens are virtual structures that represent real-world projection screens. A Screen will coexist in the 3D Scene module (where it is created, then calibrated) and in the Timeline module. Each Screen has its own section of the Timeline, where you can create all of the Layers it will hold. ![](/files/-LgXlfFMlzY-ovJIse3G) #### Create Screens Screens are not created in the Timeline module per se. When a 3D object is added in the 3D Scene, PHOTON will automatically recognize it as a Screen. A newly created Screen will add its own section to the Timeline. #### Collapse and Expand Screens In order to collapse or expand a Screen you can either: * Double-click on the Screen’s Layer; or * Click on the small triangle located beside the Screen’s name. #### Add Screen Metadata It is possible to add text metadata to a Screen by accessing the Screen Properties (see Section 5 Clip Properties in Chapter 4 Programming a Show). The metadata attached to a Screen can be used to show or hide specific Screens when executing a search command. For example, if you add text metadata such as “Aisle Screens” to some of the Screens as a way to identify them, you can easily find them when performing a search. ![](/files/-LgXlfFNnmcbNNGtqGvJ) #### Screen Render Resolution Screens have a render resolution. The render resolution represents the amount of pixels used to display images on a Screen. You can set a Screen’s render resolution by adjusting its width and height parameters in the Screen Properties (see Section 5 Clip Properties in Chapter 4 Programming a Show). ![](/files/-LgXlfFOCgJmkKSBjaBp) {% hint style="info" %} When determining a Screen’s resolution many different factors need to be taken into account: the Screen’s physical size, its ratio, the distance between its position and the audience, and the resolution of the media that will be displayed on it should be considered. The best practice when choosing resolution is to match the ratio of the Screen and the resolution of the media that will be displayed on it. Insufficient resolution will result in a pixelated image. Using a higher resolution than the media being displayed is a waste of computing resources. {% endhint %} #### Search for a Screen A search box is located at the top of the Layers list. You can enter text in the box to filter out some of the Screens on the list. Screens that remain visible in the Layers list will be the ones that match the name or metadata tag entered into the search box. Note that the names of the 3D objects from which the Screens originate are taken into account by the search box filter. #### The Root The Root can be thought of as an invisible Screen that holds various Clip types (see Section 2.2 Clip Types in Chapter 4 Programming a Show). These Clips are independent from any of the actual Screens created in the 3D Scene. Clips placed in the Root can be referenced by other Clips (such as Proxy Clips, Stack FX Clips, FX Graph Clips, etc.). It is considered a best practice to place Cue Clips in the Root because by doing this they will appear at the top of all of the other Screens. Also, since the search box filter affects the visibility of the Screens but not the Root, Cues placed in the Root will always be visible. ![](/files/-LgYydj-rR1eXetWaMu7) ### 2.1.3 Layers Layers are represented as horizontal tracks in the Timeline. They can store many Clips horizontally. Layers can be stacked up vertically to create composited scenes. Layers are also useful when building real-time effects by combining multiple Stack FX Clips. They are also useful in contexts where automation relies Cue Clips. {% hint style="warning" %} Unlike Adobe After Effects, PHOTON’s Layers can hold many clips. {% endhint %} ![](/files/-LgXlfFQpYwldlPmo-Gw) #### Create New Layers To create a new Layer: 1. Select one of the Screens (or the Root) by clicking on its entry in the Layers list; 2. Click on the \[+] button located in the Master Layer panel. The new Layer will be added at the bottom of the Layers list. By pressing \[Ctrl+＋] the new Layer will be inserted directly below the Layer that is currently selected. {% hint style="info" %} A newly created Layer might not be immediately visible. You have to \[Double-click] on the Screen or on the triangle found next to the Screen’s name in order to reveal the Layers stored inside it. {% endhint %} #### Reorganize the Layer Order All Layers can be manipulated with the mouse in order to change their position in the Layers list: * \[Click+Drag+Drop] any Layer to where you want it. Layers can also be dragged from one Screen to another using the same method. #### Layer Rendering Order In PHOTON, the rendering order is organized sequentially, from top to bottom. This means the lowest item in the list will always be the last one rendered, and as a result it will be placed on top of the composition. This design applies to both the Timeline module (where compositing is done) and the 3D Scene list. It is important to remember that the logic of PHOTON’s rendering order is the inverse of Adobe’s image compositing software. ### 2.1.4 Clips A Clip is a container that can hold various time-based components such as media, cues, effects, etc. (see Section 2.2. Clip Types in Chapter 4 Programming a Show for a complete list of the Clip types and their description). Clips are placed within Layers (which in turn are placed in Screens, or in the Root). Stacking Clips vertically in the Layers belonging to the same Screen (or in the Root) will allow the creation of visual compositions through Layer blending (see Section 4.3 Blending – Create Compositions in Chapter 4 Programming a Show). Clips have a fixed duration defined by their borders. By default, the duration of the newly created Clip will match the duration of the whole project. ![](/files/-LgXlfFRltrRudSZPqaS) {% hint style="info" %} The Clip’s default duration can be changed by entering a new temporal value for Clips in the field located in the Timeline Default values window. To access the Timeline Default values window click on the General tab in the Settings module. {% endhint %} #### Add Clips * \[Right-click] on any track on the Timeline (each Layer has a its own track) to open a contextual menu that contains the following options for adding new Clips (or use the dedicated shortcuts in the Timeline module): * Add Empty Clip \[Ctrl+N] * Add Media Clip (Image, Video, Sound) \[Ctrl+M] * Add FX Stack Clip \[Ctrl+E] * Add FX Graph Clip \[Ctrl+W] * Add Virtual Projector Clip \[Ctrl+R] * Add Input Device Clip \[Ctrl+I] * Add Cue Clip \[Ctrl+U] * Add Proxy Clip \[Ctrl+P] * Add Composer Clip \[Ctrl+G] * Add Composition Clip \[Ctrl+H] * Add Shadow Session Clip \[Ctrl+O] * \[Drag+Drop] a media file from the File Manager module onto a track to create a new Media Clip. #### Select a Single Clip * Click on a Clip to select it. #### Select Multiple Clips * \[Ctrl+Click] on Clips; or * Draw a selection square across the Layers to perform a group selection. (This only works if you draw the selection square within the tracks (identified by the lighter grey area.) {% hint style="info" %} The selection square works across Screens. {% endhint %} #### Delete Clips * Select the Clips you want to delete and press the \[Delete] key. A Confirmation Box will open to make sure you really want to delete the Clip. Click on the {Delete} button or press \[Enter] to delete the Clip. #### Change Clip Type Clip capacities (media playback, send a cue, etc.) are defined by their type (media, cue, effect, etc.). A Clip type is selected whenever a Clip is created. You can also change a Clip type later on without affecting its duration or location in the Timeline by doing the following: * Select the Clip and then select an option from the Clip Type dropdown menu located in the Shared Clip Properties window section of the Timeline module. {% hint style="info" %} The Clip type cannot be changed when multiple Clips are selected. {% endhint %} #### Change Clip Colors 1. \[Right-click] on a Clip (or a group of multi-selected Clips). 2. Select {Change color} from the contextual menu. A color picker pop-up window will open. Choose the desired color and close the color picker. #### Reset Clip Colors 1. \[Right-click] on a Clip (or a group of multi-selected Clips). 2. Select {Reset color} from the contextual menu. The selected Clips will reset their color to the default specified in the Settings module. **Change a Clip Type Color** 1. Press \[Alt+S] or select {System > Settings} to open the Settings module. 2. Click on the General tab to access the Default Clip Colors list. 3. Click on any of the Clip type buttons in the list to open a color picker pop-up window. Choose the desired color and close the color picker. ## 2.2 Clip Types #### Empty Clip \[Ctrl+N] Empty Clips act as empty shells that don’t contain anything. They are mainly used to add operation notes in the Timeline. The default color for representing Empty Clips is grey. ![](/files/-LgYzRvjomM3hrW3vYXR) #### Media Clip \[Ctrl+M] Media Clips contain different kind of media: single frame images, videos and sound files. The default color for representing Media Clips is red. ![](/files/-LgYzUXMs22DajRgmcjW) #### FX Stack Clip \[Ctrl+E] FX Stack Clips act as adjustment Layers, transforming one or two sources with real-time effects (blur, glow, etc.). There are more than one hundred different kinds of effects. The default color for representing FX Stack Clips is light blue. ![](/files/-LgYzXrbKoCBeVMc7czx) #### FX Graph Clip \[Ctrl+W] FX Graph Clips refer to a specific Graph created in the FX Graph module. The FX Graph module is a graphical programming interface that is used to create effects, manage particles, program logic functions and integrate incoming data from the 3D Scene. The default color for representing FX Graph Clips is deep blue. ![](/files/-LgYz_94isGC_UGfOqaM) #### Virtual Projector Clip \[Ctrl+R] Virtual Projector Clips re-project content from a point of view defined by the position and orientation of its corresponding Virtual Projector in the 3D Scene. They virtually project images onto Screens, modifying their texture in the process. Virtual Projector Clips are often used in interactive effects used in combination with camera mapping. The default color for representing Virtual Projector Clips is yellow. ![](/files/-LgYzcIyn-m5tfst9E3L) #### Input Device Clip \[Ctrl+I] Input Device Clips refer to input devices such as video acquisition cards, cameras and NDI streams accessed through the I/O module. An Input Device Clip will display its texture (the incoming video feed) onto the Screens they are placed in. The default color for representing Input Device Clips is mauve. ![](/files/-LgYzepqgc7ZpWA2RGea) #### Cue Clip \[Ctrl+U] Cue Clips refer to Cues which are macro commands created with the help of the Cue Editor module. They are triggered by PHOTON when the Playhead intersects with the boundaries of the Clip. The default color for representing Cue Clips is green. ![](/files/-LgYzhDT4ILK1Nuv71BI) #### Proxy Clip \[Ctrl+P] Proxy Clips allow you to distribute a reference texture originating from another Clip to other Screens. The source Clip (media, live input, etc.) is usually placed in the Root. Using Proxy Clips reduces the load on the GPU and the disks because the texture is only read once even if its content is displayed on multiple Screens. The default color for representing Proxy Clips is purple. ![](/files/-LgYzixESPbOYQjf-wS1) #### Composer Clip \[Ctrl+G] Composer Clips allow you to “bake” a visual composition (a single image composed of many Layers of content) that can be referenced to by Clips placed on a Layer below in the Timeline. This is very useful because most of the parameters set in the Shared Clip Properties are not transferred when sourcing Clips in PHOTON. The default color for representing Composer Clips is orange. ![](/files/-LgYzlfDqE7nYOyoIvXF) #### Composition Clip \[Ctrl+H] **This feature is still in development and should not be used in Shows**. Composition Clips allow you to encapsulate a section of the Timeline into a Sub-Timeline that can be visualized by opening the tray at the bottom of the Timeline window. The default color for representing Composition Clips is brown. ![](/files/-LgYzn4UyKVEZoLgFFTI) #### Shadow Session Clip \[Ctrl+O] Shadow Session Clips allow you to playback PSN (PosiStageNet) data recordings. The default color for representing Shadow Session Clips is aqua. ![](/files/-LgYzokKgMPk87X6PgD0) #### ## 2.3 Screen and Layer Timeline Properties Three toggles and a slider are located to the right of the Screens and the Layers in the Timeline. They can be used in the following ways to affect both Screens and Layers: ![](/files/-LgZ-HbkZJ2WkS6mB6eD) #### Cancel Rendering for a Screen or Layer * Click on the Lighting toggle to cancel all image rendering for its corresponding Screen or Layer on the connected Display Servers. Cancelling image rendering makes manipulation invisible in its corresponding Layer or Screen. #### Lock a Screen or Layer * Click on the Lock toggle to prevent any modifications to its corresponding Screen or Layer. The Lock prevents unwanted changes. #### Hide a Screen or Layer * Click on the Eye toggle to turn its corresponding Screen or Layer to black. #### Modify Alpha for a Screen or Layer * \[Click+Drag] the Alpha slider to modify the alpha channel value for its corresponding Screen or Layer. ## 2.4 Add or Replace Media #### Add Media 1. Create a new empty Media Clip on the Timeline by using one of these methods: 1. \[Right-click] on a Layer track and select the {Add Media} option from the contextual menu; or 2. Click on a Layer to select it, then press \[Ctrl+M]. {% hint style="info" %} This will create a Media Clip with a duration that corresponds to the duration of the Timeline. {% endhint %} 1. Click on the empty Media Clip to select it. The Clip Properties window section of the Timeline module will reflect your selection and its name will change to “Media Properties.” 2. Select an item from the Media File list by clicking on its entry. The selected media file will be loaded onto the Media Clip and will loop to match the Clip’s duration. #### Add a Specific Media File as a Media Clip in the Timeline * \[Drag+Drop] a media file from the File Manager module onto the Timeline. A new Media Clip linked to the selected media file will be created. The Clip’s duration will match the duration of the media file (even if it is a single frame or still image). #### Replace the Media File linked to a Media Clip There are two methods to replace the media file linked to a Media Clip on the Timeline: * Click on the Media Clip to select it and then \[Double-click] on the desired media file located in the File Manager module; or * Click on the Media Clip to select it and choose a media file from the Media File list located in the Media Properties window section. {% hint style="info" %} None of these actions will alter the duration of the Media Clip. {% endhint %} ## 2.5 Timeline Navigation ### 2.5.0 The Playhead The Playhead is a mobile time marker that reads the Timeline’s content and indicates the current time of the Show. It is represented by a downward-pointing red triangle located on the Timeline. ![](/files/-LgXlfFclUEo9iKihN2v) ### 2.5.1 Playhead Positioning #### Position Playhead using the Mouse Use the following methods to position the Playhead with your mouse: * \[Left-click+Drag] the Playhead to move it across the Time Bar; or * \[Double-click] in the black area of the Timeline (also known as the Time Bar) to make the Playhead jump to that position. #### Position Playhead using the Time Box The Time Box is a field located at the upper left side of the Timeline Editor, which displays the Show’s current time in numeric values. Use the following methods to move the Playhead to a time value specified in the Time Box: * Double-click or press \[F2] to edit the numeric value in the Time Box. * Double-click or press \[F2], then press the \[+] key and add the number of frames you want the Playhead to move forward. If the number entered is preceded by the \[-] key, the Playhead will jump backward. If the number entered exceeds 99, the time value will be divided as follows: *hours:minutes:seconds:frames*. For example, entering + 122 will make the Playhead jump forward 1 second 22 frames. #### Other Ways to Position the Playhead It is possible to move the Playhead using other methods: * Click on the transport buttons located to the left of the Timeline Editor window section to move the Playhead. * Many keyboard shortcuts will move the Playhead. A list of the shortcuts linked to the Timeline module can be accessed by selecting {Help > Shortcut Keys > Timeline Shortcuts} in the Main Menu bar. * Trigger a Cue containing a pre-recorded change to the Playhead’s position. * Select a predefined Region by clicking on its entry in the Region list (located in the far left part of the Timeline editor window section) to make the Playhead jump to the Region’s location on the Timeline. ### 2.5.2 Timeline Zoom and Navigation #### Zoom and Navigation using the Mouse and Keyboard * Use the \[Mouse Scroll] to zoom in on the Playhead’s location on the Timeline; or * Press \[Ctrl+Mouse Scroll] to zoom in on the cursor’s location on the Timeline. #### Zoom and Navigation using the Zoom Bar * Use the Zoom Bar located at the top of the Timeline to zoom in on sections of the Timeline. * \[Click+Drag] the white handles located at the Zoom Bar’s edges to change the zoom value. * \[Click+Drag] the center of the Zoom Bar to modify its view position. ### 2.5.3 Re-center the Playhead * \[Double-click] on the Zoom Bar to center the Timeline view on where the Playhead is positioned; or * Press \[F5] (the Timeline must be in focus) to re-center the Playhead. ### 2.5.4 Scroll and Pan on the Timeline #### Scroll To scroll up or down on the Timeline you can: * Place the cursor in the Screen name column at the left of the Timeline; or * Place the cursor on the scrollbar at the far right edge of the Timeline. #### Pan To pan left and right on the Timeline:\ \*Using the mouse, \[Middle-click+Drag] anywhere in the Timeline’s tracks. ### 2.5.5 J K L You can use the \[J], \[K] and \[L] keys to control the Playhead speed during playback. Playhead speed can be increased up to 40 times its normal speed in both directions. ![](/files/-LgXlfFdbgh7o3aXrj8J) * Press the \[J] key to reverse playback (1 times) speed. * Press the \[K] key to pause playback. * Press the \[L] key to playback forward at (1 times) speed. ### 2.5.6 Navigate Timeline Using Ins and Outs Clip time boundaries (the In and Out points) can be used to navigate through the Timeline. * Press \[Ctrl+J] to make the Playhead jump backward to the next In or Out point on the Timeline. * Press \[Ctrl+K] to make the Playhead jump forward to the next In or Out point on the Timeline. ![](/files/-LgXtVaOP2j4iFHAexBz) ## 2.6 Editing on the Timeline ### 2.6.1 Move Clips Clips can be moved horizontally on the Timeline in order to change the timing of their occurrence. They can also be moved vertically through the Layers of the same Screen or from one Screen to another. * \[Left-click+Drag] a Clip to move it. * \[Left-click+Drag] on the Timeline to draw a selection frame around the Clips you want to move, then \[Left-click+Drag] one of the Clips in the selected group to move the whole group. {% hint style="info" %} Clips can also be moved horizontally on the Timeline by first locking the Duration time slider and then by modifying the value of the In or the Out time sliders located in the Shared Clip Properties window section. {% endhint %} ### 2.6.2 Change Clip Duration Clip duration can be changed using any of the following methods: * Place the cursor over the beginning or the end of a Clip (its In or Out point). The cursor’s appearance will change showing a double-ended arrow instead of the regular mouse pointer. \[Left-click+Drag] the In or the Out point to change the Clip’s length (i.e. extend or reduce its duration). This method works as well when multiple Clips are selected. * Click on the Clip to select it. Enter new values in the In and Out time sliders located in the Shared Clip Properties window section. ### 2.6.3 Set a Clip’s In or Out Point Setting a Clip’s In or Out point will move it on the Timeline until it’s beginning or end matches the position specified by the Playhead’s location. The Clip’s duration will not be altered. #### Set Clip In Point * Click on a Clip to select it. Press \[Ctrl+Home] to set the Clip’s In point; or * \[Right-click] on a Clip to open a contextual menu. Select {Edit > Set clip in point}. #### Set Clip Out Point * Click on a Clip to select it. Press \[Ctrl+End] to set the Clip’s Out point; or * \[Right-click] on a Clip to open a contextual menu. Select {Edit > Set clip out point}. ![](/files/-LgXlfFfDn9Xcbdf4H8n) ### 2.6.4 Set Clip Fade In/Out Points Setting a Clip’s Fade In point or Fade Out point will move the Clip on the Timeline until the highest part of the fade slope matches the current position of the Playhead. #### Set Clip Fade In Point 1. Position the Playhead on the Timeline where you want the selected Clip’s fade in to be complete. 2. Click on the Clip to select it. 3. Set the Fade In point by using one of the following methods: 1. Press \[Ctrl+Shift+Home]; or 2. Select {Edit > Set clip in point} from the Timeline menu; or 3. \[Right-click] on the Clip to open a contextual menu. Select {Edit > Set clip in point}. #### Set Clip Fade Out Point 1. Position the Playhead on the Timeline where you want the selected Clip’s fade out to start. 2. Click on the Clip to select it. 3. Set the Fade Out point by using one of the following methods: 1. Press \[Ctrl+Shift+End]; or 2. Select {Edit > Set clip out point} from the Timeline menu; or 3. \[Right-click] on the Clip to open a contextual menu. Select {Edit > Set clip out point}. {% hint style="info" %} Clip fade in and fade out times are set in the Shared Clip Properties window section of the Timeline module. {% endhint %} ### 2.6.5 Trim Clip In or Out Point Trimming a Clip In or Out point will change the selected Clip’s duration by moving its beginning or end to match the Playhead’s current position. Multiple Clips can be trimmed at the same time. #### Trim Clip In Point * Click on a Clip to select it. Press \[Ctrl+\[ ] to trim the Clip’s In point; or * \[Right-click] on a Clip to open a contextual menu. Select {Edit > Trim clip in point}. #### Trim Clip Out Point * Click on a Clip to select it. Press \[Ctrl+ ] ] to trim the Clip’s Out point; or * \[Right-click] on a Clip to open a contextual menu. Select {Edit > Trim clip out point}. ### 2.6.6 Duplicate Clip Duplicating a selected Clip will create a copy of it in a newly created Layer located beneath it. It is possible to accomplish this operation multiple selected Clips. * Click on a Clip to select it. Press \[Ctrl+D] to duplicate the Clip; or * Click on a Clip to select it. Select {Edit > Duplicate Clip} from the Timeline Editor menu. When duplicating a Clip, it is also possible to position it in any Layer that exists. * Click on a Clip to select it. Press \[Ctrl+Left-click+Drag] to duplicate the Clip and position it in any Layer that exists. ### 2.6.7 Slice Clip Slicing a Clip will separate it into two distinct Clips. ![](/files/-LgXlfFgpfqpm1cYollq) 1. Position the Playhead on the Timeline where you want the Clip to be sliced. 2. Click on the Clip to select it. 3. Slice the Clip by using one of the following methods: 1. Press \[Ctrl+B]; or 2. Select {Edit > Slice} from the Timeline menu; or 3. \[Right-click] on the Clip to open a contextual menu. Select {Edit > Slice}. {% hint style="info" %} If the sliced Clip is a Media Clip, the In and Out time sliders for the new Media Clips created will be set to reflect the Playhead’s position when the slicing occurred. The In and Out time sliders for Media Clips are in the Media Properties window section. {% endhint %} ### 2.6.8 Snapping Snapping is a Timeline editing function that facilitates Clip alignment. * Press \[Shift] while moving a selected Clip to enable Snapping. If Snapping is enabled, the Clip that you are moving on the Timeline will automatically align with or snap to the edge of another Clip in range. White vertical lines appear at the edges of the Clips that are in range. ![](/files/-LgXlfFh38aFR-yAPwJp) Snapping can help ensure you don't accidentally insert or overlay a Clip onto another when dragging Clips around within the Timeline. Snapping also works between the edge of a Clip and the Playhead and on Regions ins & outs. ## 2.7 Inserting Cues on the Timeline Cue Clips are used to insert pre-recorded Cues on the Timeline. Cue recording and editing is covered in another section of the manual. (See Section 1.2 Cue Recording in Chapter 4 Programming a Show.) A Cue will be triggered whenever the Playhead intersects with the Cue Clip that is linked with it. Follow the next steps to properly insert and adjust a Cue on the Timeline. ### 2.7.1 Add a Cue Clip * \[Right-click] in a Layer track to open the Clip Type contextual menu. Select {Add Cue}; or * Select a Layer by clicking on its entry in the Layers list. Select {File > Add Cue} from the Timeline Editor menu; or * Select a Layer by clicking on its entry in the Layers list. Press \[Ctrl+U]. Notice that the Cue Clip’s In point will match the position of the Playhead. ### 2.7.2 Adjust a Cue Clip’s Length and Position * A Cue Clip’s length and position can be adjusted as per any other Clip types. Please refer to previous sections of the manual for detailed instructions. (See Section 2.5.1 Move Clips in Chapter 4 Programming a Show; as well as Section 2.5.2 Change Clip Duration in Chapter 4 Programming a Show.) {% hint style="info" %} A Cue Clip’s length and position should be determined using the following methods: * The Cue Clip’s position has to match the moment at which you need it to be triggered. * The Cue Clip’s duration should exceed 30 frames to make sure it’s registered even if poor server performances occur. * The Cue Clip’s duration should be long enough to allow the operator to read its name in the Timeline. * The Cue Clip’s duration should be short enough to avoid visually cluttering the Timeline. {% endhint %} ### 2.7.3 Link the Cue Clip to a Pre-Programmed Cue 1. Click on the Cue Clip to select it. Properties specific to the selected Clip will appear in the top right window section of the Timeline module. (The window section should be named Clip Properties.) 2. Select the Cue you want to link to the Clip by clicking on its entry in the Select source cue list. You can use the search box or select an item from the Cue playlist dropdown menu to filter out unwanted Cues from the Select source cue list. Once linked, the Cue Clip’s name (shown in the Timeline) will change to the Cue’s name. It should read as: *Cue # : name\_of\_the\_Cue* (the Cue # is it’s unique ID number). ## 2.8 Universal Crossfade The Universal Crossfade widgets can be found in the far left part of the Timeline Editor window section. This function allows you to execute a crossfade from any point to an other in the Timeline. If the Playhead jumps from any location to an other on the Timeline, a smooth transition will occur. The number and type of Clips (Media, FX, Input Device) being read at each location does not matter; the system will still execute a smooth crossfade between the two states. ![](/files/-LgXlfFi7bIjumXnqbt8) #### Enable Universal Crossfade * Click on the \[Enable] toggle to activate or deactivate the Universal Crossfade function. #### Set Universal Crossfade Duration * \[Click+Drag] the Cross Fade Slider (measured in seconds) to set the Universal Crossfade duration. {% hint style="info" %} The Universal Crossfade function will only work if PHOTON detects a Playhead jump that has a duration greater than 1 second. {% endhint %} ## 2.9 Timeline Duration The Timeline’s duration is determined by the Sequence’s duration. By default, a Sequence has a duration of 2 hours. Every newly created Sequence will have this duration if the default value isn’t changed. ### 2.9.1 Change the Default Value for Sequence Duration 1. Open the Settings module by pressing \[Alt+S] or by selecting {System > Settings}. 2. Click on the \[General] tab. 3. Click on the Sequence time slider located underneath the Timeline window section to edit its default value. 4. Enter the new default values for Sequence duration using the keyboard. Values are expressed as follows: *hours:minutes:seconds:frames* ![](/files/-LgXvC0F8RrZaeOTgye8) ### 2.9.2 Change the Duration of a Sequence 1. \[Right-click] on the Sequence tab to open a contextual menu. 2. Select {Properties} from the menu; a Sequence Properties window will open. 3. Click on the Duration time slider to edit its default value. 4. Enter the new default values for Sequence duration using the keyboard. Values are expressed as follows: *hours:minutes:seconds:frames* 5. Click on the \[OK] button. The Timeline will be extended or reduced to match the Sequence’s duration. 6. A dialog box will open to tell you if some Clips are out of range now that the Sequence duration has been altered. This is non-destructive; if the Timeline’s duration is returned to its original format the Clips will be reintegrated. {% hint style="danger" %} 30 hours is the maximum duration for a Sequence because this is the maximum value for Timecode data. 1 second and 1 frame (00:00:01:01) is the minimum duration for a Sequence. (This is arbitrary.) {% endhint %} ## 2.10 Timeline Auto Loop Playback will automatically stop by default when the Playhead reaches the end of a Sequence, PHOTON can be set to loop playback automatically. When the Playhead reaches the end of the Sequence it will automatically jump back at 00:00:00:00 and playback will resume. ![](/files/-LgXlfFkKj3WsHrF0ugm) #### Auto Loop a Sequence 1. \[Right-click] on the Sequence tab to open a contextual menu. 2. Select {Properties} from the menu; a Sequence Properties window will open. 3. Click on the \[Enable Auto Loop] toggle to enable the function. 4. Click on the \[OK] button to close the window. {% hint style="info" %} It is possible to create a playback loop in a Sequence by placing a Cue Clip at its end. The pre-recorded Cue has to move the Playhead to the beginning of the Sequence. {% endhint %} ## 2.11 Timeline Freerun The Freerun function will activate media playback when the Playhead comes into contact with a Media Clip, even if the playback transport function is not enabled. Once activated, the Freerun function will affect the behavior of every Media Clip in the Timeline. ![](/files/-LgXlfFlz8F7_Wmu9tKB) #### Activate Freerun * Click on the \[Free Run] toggle located in the Timeline Editor window section to enable Timeline Freerun. {% hint style="info" %} When used on an entire Timeline, this option is very useful as a creation tool. Free Run should not be used in a show. {% endhint %} ## 2.12 Duplicating, Exporting and Importing a Sequence A Sequence can be duplicated, and it can be exported or imported as a **.seq** file. ### 2.12.1 Duplicate a Sequence 1. \[Right-click] on the Sequence tab to open a contextual menu. 2. Select {Duplicate} from the menu; this will create a copy of the Sequence. {% hint style="warning" %} Problems related to Cues and Mappings might be experienced when duplicating a Sequence. Caution is advised. {% endhint %} ### 2.12.2 Export a Sequence 1. \[Right-click] on the Sequence tab to open a contextual menu. 2. Select {Export} from the menu. A dialog box will open and ask for the name and location of the exported Sequence. 3. Enter the exported Sequence file name and choose a location. Click on the \[Save] button. ### 2.12.3 Import a Sequence 1. Select {File > Import sequence} from the Timeline Editor menu. A dialog box will open and ask which Sequence file to load. 2. Select the **.seq** file you want to load. Click on the \[Open] button. This action will add the imported Sequence as new tab in the Timeline. {% hint style="warning" %} Importing a Sequence into another project is possible, but given that the Timeline is Screen-based, the 3D Scene objects corresponding to the Timeline Screens need to be present in the 3D Scene prior to the import. Cues will have to be rebuilt because they are project dependent for the most part. {% endhint %} # 3. Shared Clip Properties Located at the top left of the Timeline Module \[Alt+T] or {Show>Timeline} in the main menu bar. As its name indicates, this column will include all properties shared by the clips on the timeline. {% hint style="warning" %} All the properties in this column can be modified in a multi-selection of clips except for the change media type drop down menu. {% endhint %} ## 3.1. Before we start In Photon, when you make a change to the shared properties of a clip, you will see an icon appear on the clip in your composition. This icon serves as a visual indicator to show that the clip has been modified. By using visual cues like icons, Photon makes it easy to keep track of changes to shared clip properties and ensures that any changes made are reflected consistently throughout your project.
{% hint style="info" %} In addition to the icon indicating Shared Clip Property changes, Photon also displays other icons on a clip that are related to its media properties. These icons can indicate various aspects of the clip, such as its loop mode or audio status, for example. By using these icons, Photon provides quick and easy access to important information about your media properties and helps you keep track of any changes or issues that may affect your project or can help you quickly answer a Designer question. {% endhint %} ## 3.2. **Change Media type** A timeline container is known as a clip. The beauty of the system lies in its flexibility. You can easily switch between clip types by selecting from the drop-down menu. Photon doesn't limit you to a specific type of container; once created you have the freedom to choose and change as needed. It is important to note that when you change the clip type in Photon, certain information will be retained. For instance, if you convert an FX stack into a different clip type and then switch it back to an FX stack, certain details such as the source will still be preserved.
{% hint style="warning" %} **Coming soon**: Clip types guide. {% endhint %} {% hint style="info" %} If you want to convert a single clip into a media clip in Photon, you can simply select the clip and double-click on the desired image or video in the File Manager Module. This will change the clip type and allow you to work with it as a media clip. {% endhint %} ## 3.3. **Edit In-Out and durations of Clips**
Clips on the timeline have a specific duration. You can adjust the in and out points of selected clips using the three time sliders - In, Out, and Dur (for Duration). To learn more about how to use time sliders in Photon, refer to [Chapter 01\_02. Fundamentals of Photon and its UI > 2.12 Slider Types Behavior](https://docs.vyv.ca/user-guide/4.-programming-a-show/pages/-LfVjhgxkfLgRUYRq1lm#2.12-slider-types-and-behaviors). Changing the Duration will modify the Out point of the selected clip(s). When the Duration is increased the Out point moves towards the right, conversely shortening the Duration will move the Out point towards the left. Changing the Duration does not change a clip's In point. To lock the duration of a clip, simply activate the small lock icon located on the right of the Duration slider. Once the lock is engaged, the clip will not change in length, but you can still adjust its position by moving either the in or out time slider. Additionally, you can manually adjust the in and out points of a clip by using the handles located at the extremities of the clip on the timeline. If you set the values in the in and out time slider to be the same, the clip will become infinite in length, covering the entire length of your sequence starting with the value present in the sliders. For example, if you want a clip to go across your entire sequence, set both sliders to 00:00:00:00. ## 3.3. **Reset all Button**
Allows you to reset all shared clip properties parameters below it, meaning it will completely reset the shared clip properties of the selected clip(s) except for its Clip Type, Duration, In Point and Out Point. ## 3.4. Geometry - Scale & Move content
Use the radio button to choose between Percent/Normalized values or in Pixels for Geometry, Cropping and Rotation center values.
Use High Quality Downscaling filter on scaled down clips during composition. It should be left on for better results.
Transformations are performed around a fixed point called the *reference point*. By default, this point is at the center of the item you are transforming. However, you can change the reference point or move the center point to a different location using the reference point locator. {% hint style="info" %} This reference point is only for position and size; rotation will have a different one. {% endhint %}
To position and scale your clips on the screen, you can use the position and size 2D sliders. For more information on using these sliders, refer to [Chapter 01\_02. Fundamentals of Photon and its UI > 2.12 Slider Types Behavior](https://docs.vyv.ca/user-guide/4.-programming-a-show/pages/-LfVjhgxkfLgRUYRq1lm#2.12-slider-types-and-behaviors). {% hint style="info" %} Alternatively, you can use the mouse to manipulate the 2D bounding box in the preview module directly. {% endhint %}
The Reset button will reset the position and size 2D Sliders. This will center your content at the size of the screen it is in. ## 3.5. Blending - Composite your images
Select the blending mode from the drop-down menu. Blending modes use color information from a Base layer and a Blend layer to combine pixels into a Result layer. Each mode corresponds to a different mathematical algorithm which is applied to each pixel to create the final blend. Understanding blending modes in Photon can help you create more dynamic and unique compositions in your designs, by creating complex blends that cannot be achieved with standard opacity settings. **Base + Blend = Result** * ***Base*** – The original color in the image. * ***Blend*** – The color applied to the Base layer. * ***Result*** – The color resulting from the blend between the Base and the Blend. {% hint style="warning" %} **Coming soon**: Blending mode guide. {% endhint %} The Opacity slider lets you control how much you can see through the current clip. An Opacity value of 1 makes the current clip fully opaque whereas any value below 1 will partially reveal the blended result of the clips directly beneath the current one. An Opacity value of 0 makes the current clip fully transparent. {% hint style="info" %} If you set the value of the Opacity Slider to zero (0), the corresponding clip will not be rendered on your screen. {% endhint %} {% hint style="info" %} When you press the \[H] key with a clip selected, it will automatically toggle the Opacity slider between 0 and 1. This is a useful shortcut for quickly hiding or revealing clips in your composition. {% endhint %} ## 3.6. Transitions - Cross Fades & Slide Shows
With Photon, you don't need to draw complex curves or add keyframes to fade in or out content. Instead, you can simply enter a value or slide to automatically fade in or out the selected clips. This feature can save you time and effort, as you can easily adjust the fade in/out effect without the need for manual keyframe adjustments.
{% hint style="info" %} When you add a fade in or fade out effect to a selected clip in Photon, you will see a triangle icon drawn at the beginning or end of the clip. This serves as a visual indicator to show that a fade effect has been applied to the clip. {% endhint %} ## 3.7. Rotation
To modify the center of rotation for your clip in Photon, use the Center X/Y sliders. Those sliders allow you to adjust the position of the center of rotation for the selected clips.
The Angle slider in Photon can be used to rotate your selected clip. This slider allows you to adjust the rotation angle of the clip, measured in degrees.
The Angle slider in Photon can be used to rotate your selected clip. This slider allows you to adjust the rotation angle of the clip, measured in degrees. ## 3.8. Cropping
In Photon, there are two modes of cropping available in the clip shader: "crop" and "crop resize". The former builds rectangular masks around the content while the latter scales the image based on the crop values to maintain its full size in the clip raster. In both modes, the control bounding boxes remain unchanged. The first four sliders control the amount of cropping on the left, right, bottom, and top sides respectively. The "crop softedge" option can be used to apply a soft edge in all directions simultaneously. Users can also use the "crop pan x" and "crop pan y" options to pan the cropped section of the content within the screen raster.

Original image

Cropped image with a red background

Same value with crop resize toggled on

With softedge

Panned

{% hint style="info" %} It's worth noting that there is also an FX available in Photon called "**crop\_fx**" which offers the same options as the crop mode in the clip shader, with the added ability to control the alpha channel of the crop. {% endhint %} ## 3.9. Color
There are two buttons located in the Color section that allow you to access and reset the color correction module. On How to use the color correction please read: [Chapter 04. Color Correction](/user-guide/4.-programming-a-show/color-correction-module) {% hint style="info" %} Although the Color Correction module is located within the shared clip properties, it has its own interface. Also, if you select multiple clips, the Color Correction module will apply the same settings to each selected clip. {% endhint %}
{% hint style="info" %} To animate the color correction option, you will need to first expose the parameters in the Color Correction module. Once you have exposed these parameters, they will appear in the color section of the shared clip properties, allowing you to make adjustments and animate the color correction effect over time. {% endhint %} ## 3.10. Alpha Transfer and Alpha Management
Alpha Transfer is a feature that allows you to control the alpha channel (mask) of your clip. You can choose to generate a mask using the clip's own luminance information (self mode), or use another source’s alpha channel or intensity to create a mask for your content. To use Alpha Transfer, first select your source of alpha from the dropdown menu. You can then adjust the brightness, contrast, and gamma of the source using the three sliders provided. You can toggle {alpha form intensity} to use the luminance information of the source instead of its alpha channel. You can also toggle {alpha invert} to invert your masking. Toggle {show alpha} to display the alpha channel on top of your composition or If you want to return to your image without alpha masking, simply toggle {disable alpha transfer}. These options are particularly useful for debugging complex compositions and inspecting the alpha channel. ## 3.11. DMX - Control Clip via DMX
When programming a show with an external device such as a lighting console, it is possible to control shared clip properties and media-specific properties using DMX fixtures with specific control types. The linked fixture dropdown menu allows you to select the DMX fixture with which you want to control the clip. By selecting a fixture previously created in I/O manager>DMX the table will populate itself with control types and received values. {% hint style="warning" %} **Coming soon:** More on DMX. {% endhint %} # 4. Color Correction The Color Correction module allows users to perform color grading on image-based Clips that were previously imported in PHOTON. Color grading is a process that lets you correct images or create artistic effects by modifying visual parameters. If you have any experience with professional color grading software, you will notice that the Color Correction module’s interface features a design similar to the one of these well-established products. You will find in PHOTON most of the color grading tools you are accustomed with. {% hint style="info" %} The Color Correction module only works with image-based Clip types: Media, FX Stack, FX Graph, Input, Proxy, Composer, Composition and Virtual Projector. {% endhint %} ## 4.1. Open the Color Correction Module The Color Correction module can be accessed in various ways. You can use the following methods to access the module directly, without having a preselected image-based Clip: * Select {Show > Color Correction} from PHOTON’s main menu. * Press \[Alt+G]. ![](/files/-M3HBwRunJt8jRgNPvnk) If an image-based Clip is not selected in the Timeline, the Color Correction module’s UI will be grayed out and will not allow interactions. Once an image-based Clip is selected, the UI will light up and allow interactions. It is also possible to access the Color Correction module through the Timeline module, while having an image-based Clip selected. The selected Clip will act as the target for the Color Correction module: 1. Select {Show > Timeline} from PHOTON’s main menu or press \[Alt+T] to open the Timeline module. 2. Select an image-based Clip by clicking on its entry in the Timeline. 3. Unfold the Color section of the Shared Clip Properties window section. 4. Click on the \[Edit Color Corrections] button. ![](/files/-M3HBwRvvr40KhqhkFUe) ![](/files/-M3HBwRwngy18GkQivTo) ## 4.2. Color Correction Parameters Various parameters can be manipulated to modify the visual appearance of an image-based Clip. These parameters are divided along five different sections, each corresponding to a specific toolset. ### 4.2.1. Three-Way Correction Tools The Three-Way Correction Tools allow you to modify a color’s hue and gain in specific regions of the video signal that are delimited by their luminance. **Shadows** refer to the darkest part of the signal, **Midtones** are delimited by a bell curve at the center of the spectrum, and **Highlights** refer to the brightest part of the signal. ![](/files/-M3INAbzGHtPMHdEFsSM) Inside each of the three sections corresponding to the luminance of the signal, you will find a **Color Wheel** and a **Gain Slider**. The **Color Wheel** allows you to modify the video signal’s hue. The hue refers to the “pure” color, a color’s dominant wavelength excluding its black and white components. The **Gain Slider** allows you to increase or decrease the signal’s intensity. Modulating gain will make the image darker or brighter. ![](/files/-M3HBwRy2uTT569cBiA3) #### Color Grading Using Three-Way Correction Tools Follow these steps when color grading an image-based Clip: 1. Press \[Alt+T] or select {Show > Timeline} to open the Timeline module. 2. Select the image-based Clip designated for color grading by clicking on its entry in the Timeline. 3. Now that an image-based Clip is selected, navigate back to the Color Correction module. A thumbnail of the selected image-based Clip will be loaded in both the Original Preview and Modified Preview windows. 4. Identify the region of the luminance spectrum (Shadows, Midtones or Highlights) where you want to apply the modifications. 5. \[Click+Drag] the Color Wheel’s white marker, located in the appropriate section (Shadows, Midtones or Highlights), to select the hue you wish to modify. 6. Adjust the value of the Gain Slider by manipulating it with a \[Click+Drag] to increase or decrease the intensity of the selected hue, or you can \[Double-click] on the slider to open a text field and enter a desired numeric value. #### Reset the Color Grading Modifications * Click on one of the \[Reset] buttons to cancel color grading modifications for a specific region of the luminance spectrum. ### 4.2.2. Brightness and Contrast Tools The brightness and contrast of the image can be modified by using sliders. ![](/files/-M3HBwRzCAfzKnAfVvO5) #### Modify Brightness Modulating the Brightness slider will either increase or decrease the overall lightness of the image. Moving the slider will bring all of the colors in the image closer to pure white or pure black. * Adjust the value of the Brightness slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on the slider to open a text field and enter a desired numeric value. #### Modify Contrast Modulating the Contrast slider will either increase or decrease the difference between the image’s light and dark content. * Adjust the value of the Contrast slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on the slider to open a text field and enter a desired numeric value. #### Reset Brightness and Contrast Modifications * Click on the \[Reset] button to cancel any modifications to brightness and contrast. ### 4.2.3. HSL, Gamma and Gain Tools These tools allow you to modify five different parameters of image-based Clips. ![](/files/-M3HBwS-Ewka2pvRUbix) #### Hue This parameter can be modified through the manipulation of the Hue slider. Tonal modifications to the image’s hue will be applied regardless of luminance. * Adjust the Hue slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on the slider to open a text field and enter a desired numeric value. #### Saturation Saturation refers to the intensity of the colors in an image. Reducing saturation will result in an image dominated by different shades of gray. * Adjust the Saturation slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on the slider to open a text field and enter a desired numeric value. #### Lightness Lightness refers to the white component of the image. Increasing lightness will result in a paler image. * Adjust the Lightness slider by manipulating it with a \[Click+Drag], or you can \[Double-click] on the slider to open a text field and enter a desired numeric value. #### Gamma RGB Gamma refers to a section of the light spectrum in an image, defined by a bell curve centered on the midtones, excluding content that is pure black or pure white. The Red, Green and Blue sliders will increase or decrease their respective color content in the area defined by gamma. * Adjust the Red, Green or Blue sliders by manipulating them with a \[Click+Drag], or you can \[Double-click] on the sliders to open text fields and enter desired numeric values. ![](/files/-M3IXgbtphZDaB9RE0l6) #### Gain RGB Gain refers to a section of the light spectrum in an image defined by a slope function where the lowest point is situated in the pure black region of the light spectrum and the highest point is situated in the pure white region. The Red, Green and Blue sliders will increase or decrease their respective color content in the area defined by gain. * Adjust the Red, Green or Blue sliders by manipulating them with a \[Click+Drag], or you can \[Double-click] on the sliders to open text fields and enter desired numeric values. ![](/files/-M3IXbYu8WzoyxXTvghq) ### 4.2.4. Invert Invert functions will flip the expression of light and dark content within a specific color channel (red, green or blue). ![](/files/-M3HBwS25g3rE2pof1rG) #### Invert Red Channel * Click on the \[Invert Red] toggle to invert the red channel content. #### Invert Green Channel * Click on the \[Invert Green] toggle to invert the green channel content. #### Invert Blue Channel * Click on the \[Invert Blue] toggle to invert the blue channel content. ### 4.2.5. Levels Levels adjustments allow the user to modify an image’s tonal range. The Input Levels control how the source tonal content will be mapped in the area defined by the Output Levels. ![](/files/-M3HBwS331eAAtEQqowU) #### Adjust Input Levels By manipulating Input Levels sliders, the user can remap an image’s tonal content (values ranging from pure black to pure white) into a different register. * Adjust the value of the black Input Level slider and white Input Level slider by manipulating the sliders with a \[Click+Drag] to increase or decrease the black and white Input Level thresholds, or you can \[Double-click] on the sliders to open text fields and enter desired numeric values. #### Adjust Levels Automatically It is also possible to quickly achieve the desired tonal correction through an automated process. * Click on the \[Auto] button. #### Adjust Output Levels By manipulating Output Levels sliders, the user can clip the expression of pure black and pure white in the image. * Adjust the value of the black Output Level slider and white Output Level slider by manipulating the sliders with a \[Click+Drag] to increase or decrease the black and white Output Level thresholds, or you can \[Double-click] on the sliders to open text fields and enter desired numeric values. ### 4.2.6. Global Reset Since many tools can be used simultaneously to modify an image-based Clip’s visual properties, it can be tedious to retrace your steps and reset a specific slider. The Global Reset button will cancel all modifications that were made to the Color Correction parameters. * Click on the \[Reset Color Corrections] button located at the bottom of the Color Correction window to cancel all of the color grading modifications that were previously made. ## 4.3. Color Curves Color Curves allow tonal adjustments through the modification of a graph where the horizontal axis represents the image’s Input Levels and the vertical axis represents its Output Levels. ![](/files/-M3HBwS4WNKJ38SdIzOS) #### Adjust Color Curves 1. Select the desired option from the Color channel dropdown menu (Red, Green, Blue or RGB). 2. \[Click+Drag] the Color Curve in order to create and position a new point in the graph. 3. Add as many points as necessary. #### Reset Color Curves * Click on the \[Reset] button located above the Color Curves graph window. ## 4.4. Color Looks Modifications to Color parameters can be saved in a Look. A Look is a data structure containing color modification parameters that can be recalled and applied to multiple image-based Clips. #### Create a New Color Look Follow these steps to create a new Color Look: 1. Set the desired Color Grading parameters in the Color Correction module’s interface. 2. Click on the ![](/files/-M3HBwS5uCrRwrIvwoEy) in the top right corner of the Color Correction window. This will create a new Color Look based on how the Color Grading parameters are set. A thumbnail corresponding to the new Color Look will appear in a column located to the left of the Color Correction window. Every Color Look will display the selected image-based Clip, with the corrections applied (except on multi-selection or when a non-valid/rendered file is selected). #### Create an Empty Color Look It is possible to create an Empty Color Look linked to the currently selected image-based Clip. Creating additional Empty Color Looks makes it possible to develop alternate Color Correction parameter sets for the same Clip. * Click on the \[+] button located in the top left part of the Color Correction window to create an Empty Color Look. #### Rename Color Look * Double-click on the Color Look’s thumbnail to open a text field that will allow you to rename it. ## 4.5. Original Preview and Modified Preview The Original Preview and Modified Preview windows are located at the top of the Color Correction window. The Original Preview window shows the image-based Clip prior to any modification, while the Modified Preview window shows the processed version of the same Clip. ![](/files/-M3HBwS6BDRxnpd4auEy) #### Pause Content Playback * Click on the \[pause] toggle located at the top of the Original Preview window to freeze content playback. (Click the toggle again to resume playback.) ## 4.6. Apply Color Looks 1. Select one or multiple image-based Clips by clicking on their entries in the Timeline. (The Timeline is located in the Timeline module.) 2. \[Drag+Drop] a Color Look thumbnail from the list located at the left of the Color Correction window and move it to the Modified Preview window.\ OR \ \[Right-click] on a Color Look thumbnail from the list located at the left of the Color Correction window to open a contextual menu. 3. Select {Load}. A Confirmation Box will open. 4. Click the \[Yes] button to apply the Color Look to the previously selected image-based Clips. ![](/files/-M3HBwS7hFGC7B1ji-wH) ## 4.7. Delete Color Looks 1. Select a Color Look by clicking on its thumbnail. You can also perform a multiple selection by using \[Shift+Click] on multiple Color Look thumbnails. 2. Press the \[Delete] key or \[Right-click] on the selected Color Look(s) to open a contextual menu. 3. Select {Delete} from the contextual menu. A Confirmation Box will open. 4. Click the \[Yes] button to delete the Color Look. # Settings {% embed url="" %} Settings Overview {% endembed %} ## Description The Settings module features all of the parameters needed to manage a server fleet over the PHOTON Network. Use this module to link servers in a ring network to maintain communication, share media content and sync. The Settings module also allows you to set up video outputs and System modes for each server and provides control over default parameters for each of PHOTON’s modules. {% hint style="info" %} **OPEN THE SETTINGS MODULE** Select {System > Settings} or press \[Alt+S]. {% endhint %} ## Features * Set up the PHOTON network. * Connect and remotely control servers. * Assign System Modes to servers. * Set the default parameters for each PHOTON module. * Pull a server out of the ring to work offline. * Select which server controls cameras and I/O devices. * Manage advanced sync parameters for audio and video. ## Module-related tasks
Get StartedConnect 2 Servers Together/pages/V72O33iuLnnvo5OODNi9#1.-establish-networking-connect-2-servers-together/files/EXK23V8GBl6OEpyI8tLn
Get StartedCreate and Configure Outputs/pages/V72O33iuLnnvo5OODNi9#2.-create-and-configure-outputs/files/Kt0jMRAQXfVGZE35u6FZ
## Related documentation {% embed url="" %} User Guide / 2. Setting-Up a Show / 1. Settings {% endembed %} # 3D Scene {% embed url="" %} 3D Scene Overview {% endembed %} ## Description The 3D Scene module is used to integrate video outputs (such as projectors), video inputs (such as cameras), screen surfaces and stage automation devices in a virtual representation of the real-world stage space. It is through manipulations of this virtual stage space (the 3D Scene) that operations such as camera calibration, screen surfaces tracking, projection calibration and blending will be made possible. {% hint style="info" %} **OPEN THE 3D SCENE MODULE** Select {System > 3D Scene} or press \[Alt+C]. {% endhint %} ## Module-related tasks
Get StartedAdd, Transform & Position a Screen/pages/V72O33iuLnnvo5OODNi9#3.-add-transform-and-position-a-screen/files/Ka4KXLJTXXPOtqHAsDfH
Get Started3D Manual Calibration/pages/V72O33iuLnnvo5OODNi9#4.-3d-manual-calibration/files/DnGDjEBqucwPOfMEfTme
Drag-and-Drop in PHOTONDrag-and-Drop 3D Object onto the 3D Scene/pages/oFB9Sr3N3OTnOqlDdWza#5.-drag-and-drop-3d-object-onto-the-3d-scene/files/n47tGFQpdzfdjwFg2n4L
Frame and Reset View in PHOTON3D Scene Frame and Reset View/pages/rIAbFnUJLVlXK7znaNQi#4.-3d-scene-frame-and-reset-view/files/B8bQsGt2MvU1B7D5yBwC
## Related Documentation {% embed url="" %} User Guide / 2. Setting-Up a Show / 2. 3D Scene {% endembed %} # Timeline {% embed url="" %} Timeline Overview {% endembed %} ## Description The Timeline module is one of PHOTON’s main components. It is where various types of content are edited and composited. Powerful yet easy to grasp, its tools are inspired by the state-of-the-art software editors and content creators are using around the globe. Advanced sequencing, color grading, automation and Real-Time FX are a few of the perks that makes our Timeline module stand out. {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} ## Features * **Compositing**: Blending modes and advanced alpha management. * **Editing**: Professional editing tools. * **Color Grading**: Color grading tools including looks, curves, levels and much more. * **FX Creation**: Build your own live effects with more than a 100 shaders. * **Animations**: Keyframe any slider in sight. * **Time**: Sequence your show with regions and time–remap videos using frame blending. ## Module-related tasks
Get StartedAdd a Media Clip onto the Screen/pages/V72O33iuLnnvo5OODNi9#6.-add-a-media-clip-onto-the-screen/files/6m249B11BV4d4oLUiwlS
Use a graph asset to Create a FXAdd the Input Device as Texture Source/pages/xM33h26K538wAojcBBDC#3.-add-the-input-device-as-the-texture-source/files/mJ6udex4L3P6xEGmWTQ7
Drag and Drop in PHOTONDrag-and-Drop a Media onto the Timeline to Create a Media Clip/pages/oFB9Sr3N3OTnOqlDdWza#1.-drag-and-drop-a-media-onto-the-timeline-to-create-a-media-clip/files/4lNaZ1SbK2eZJg4q35tK
Drag and Drop in PHOTONDrag-and-Drop an Input Device onto the Timeline to Create an Input Device Clip/pages/oFB9Sr3N3OTnOqlDdWza#3.-drag-and-drop-an-input-device-onto-the-timeline-to-create-an-input-device-clip/files/d1alV2kK5jkBbjh68zQz
Control Projectors with CuesControl Projector Shutters on the Timeline with Clue Clips/pages/tzOYyG4eaHKfvLbuh2fw#3.-control-projector-shutters-on-the-timeline-with-cue-clips/files/KugNyUhuqs8L0C06klzu
Create Regions and Jump Between them with a CueCreate Regions/pages/RJeCu3lUefYWnypcHWAJ#1.-create-regions/files/RszxACU5Thqi5kDHxf5T
Create Regions and Jump Between them with a CueUse Cue Clips to Jump Between Regions/pages/RJeCu3lUefYWnypcHWAJ#3.-use-cue-clips-to-jump-between-regions/files/nNTKvKBrcHIudfCOrFlx
Frame and Reset View in PHOTONTimeline Frame and Reset View/pages/rIAbFnUJLVlXK7znaNQi#1.-timeline-frame-and-reset-view/files/WBoAZ2SRvIDBBfCW9714
Use Timecode in PHOTONBind the Timeline to a Timecode/pages/g1vZJuBHnpuedpMwLazc#3.-bind-the-timeline-to-a-timecode/files/MdDz9YN8YGCesaKMCzoT
Find in...Find Media in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#1.-find-media-in-the-timeline-file-manager/files/nOQS3tQXarvydsTJKJ1p
Find in...Find Cues in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#2.-find-cues-in-the-timeline-cue-editor/files/iQ3ztjfsiArhYa3sbZtt
Find in...Find Input Devices in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#3.-find-input-devices-in-the-timeline/files/F9TPMhADjpBfsCM1iYlT
Frame and Reset View in PHOTONPreview Frame and Reset View/pages/rIAbFnUJLVlXK7znaNQi#2.-preview-frame-and-reset-view/files/T333RjAx31e0iH8EKWwa
## Related documentation {% embed url="" %} User Guide / 4. Programming a Show / 2. Timeline {% endembed %} # Keyframe Editor {% embed url="" %} Keyframe Editor Overview {% endembed %} ## Description The Keyframe Editor module allows the animation of any slider found in the Timeline module. It exists as an independent module but is also accessible in the Timeline tray. Contrary to Cues which are state-based and need a reset to be triggered again, animations will carry the exact same result every time. When something needs to behave exactly in the same manner every time in a show, you should animate it. By drawing curves in the Keyframe Editor interface, you can move or scale a Clip in a Screen, animate color or any FX parameter such as fades (image or sound), crop, rotate, etc. {% hint style="info" %} **OPEN THE KEYFRAME EDITOR MODULE** Select {Show > Keyframe Editor} or press \[Alt+K]. {% endhint %} ## Features * Bezier curves and animation keyframes. * Editing tools * Automatic ease in and out. * Create animation loops. * Sync the Keyframe Editor module to the Timeline or run it independently. ## Module-related tasks
Notch IntegrationStep-by-step/pages/-M-RQ3tZ29OQqy0ZmxQ7/files/-M-kqQumND5WDuxcLh4x
# Color Correction {% embed url="" %} Color Correction Overview {% endembed %} ## Description The Color Correction module allows users to perform color grading on image-based Clips that were previously imported in PHOTON. Color grading is a process that lets you correct images or create artistic effects by modifying visual parameters. {% hint style="info" %} **OPEN THE COLOR CORRECTION MODULE**\ Select {Show > Color Correction} or press \[Alt+G]. {% endhint %} ## Features * Three-Way Correction Tools * Brightness and Contrast * HSL, Gamma and Gain Tools * Invert * Levels * Color Curves * Color Looks * Original Preview and Modified Preview ## Related documentation {% embed url="" %} User Guide / 4. Programming a Show / 4. Color Correction {% endembed %} # Preview {% embed url="" %} Preview Window Overview {% endembed %} ## Description The Preview Window is integrated in the Timeline Module and its purpose is to display the content of various components such as the 3D Scene, Screens and Layers. It is possible to create a second instance of the Preview Window that can prove useful when debugging complex visual compositions. It is also possible to use the Preview Window to render all Screens at once in a multi-preview. {% hint style="info" %} **OPEN THE PREVIEW WINDOW** Select {Show > Preview} or press \[Alt+V]. {% endhint %} ## Features A dropdown menu allows the selection of a specific display mode for the Preview Window which will determine its behavior. * **Preview 2D**: shows the visual composition displayed on the selected Screen. * **Layer view**: shows the source content of the Layers’ image-based Clips (prior to any subsequent transformations in the Shared Clip Properties). * **Preview 3D**: shows the 3D Scene in its current state from the point-of-view of a controllable camera. * **Multi-Preview**: show all Screens rendered on the local Server in a multi-view grid. ## Module-related tasks
Frame and Reset View in PHOTONPreview Frame and Reset View/files/T333RjAx31e0iH8EKWwa/pages/rIAbFnUJLVlXK7znaNQi#2.-preview-frame-and-reset-view
## Related documentation {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} # File Manager {% embed url="" %} ## Description The File Manager is a module dedicated to media file import and conversion. It also allows the creation of media playlists and features advanced sorting filters. {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} ## Module-related tasks
Step-by-stepFile Manager: Import and Convert/pages/tjbMwMMfTMerZ6BhWxxS/files/roDjc1HtS1XGv6rt3uZH
Step-by-StepFile Manger: Playlists/pages/qqY1j4vy1kxdT2TjykcB/files/vkMuo89bos1s4EBo7a2o
Step-by-StepFile Manager: Manage Files/pages/dQWszKgCki65Q538gzBp/files/roDjc1HtS1XGv6rt3uZH
Step-by-StepFile Manager: Display Files/pages/zFkUGMpItuIEew9u71oy/files/ZtfQt7Zezmgv0yDKgY9K
Find in...Find Media in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#1.-find-media-in-the-timeline-file-manager/files/nOQS3tQXarvydsTJKJ1p
Find in...Find in the 3D Scene/pages/zLt29FzEU3XJ1wyTSLQw#5.-find-in-the-3d-scene-file-manag/files/n8jzXbUWTDckhuQA6ch5
Step-by-StepFile Manager: Advanced Topics/pages/rY4m5iQTR875992bIOAe/files/1byLFhqldkPxkJOo2wkV
## Related documentation {% embed url="" %} User Guide / 4. Programming a Show / 2. Timeline {% endembed %} # FX Graph {% embed url="" %} FX Graph Overview {% endembed %} ## Description The FX Graph module is a graphical programming environment embedded within PHOTON. Various functions (math, logic, etc.) represented by nodes can be connected in its interface in order to create Graphs that can accomplish a wide variety of tasks. Graphs are the choice solution when you need to treat and exchange data between PHOTON’s many modules or to and from external third-party software and hardware. They are also helpful when a project relies on advanced image manipulation and creation such as 3D particle systems, VFX and compositing. {% hint style="info" %} **OPEN THE FX GRAPH MODULE** Select {Show > FX Graph} or press \[Alt+X]. {% endhint %} ## Features * Graphs can be exported and imported into shows in order to favor reusability. * Use the built-in Graph Assets to save time, get inspired or learn how the nodal system works. * Transfer and scale data for a wide variety of components. * Create logical control structures to trigger visual events. * Build complex interactive visuals that rely on various types of data (tracking, audio analysis, etc.) * Combine the 6 different types of nodes into Graphs to solve most problems you might encounter when building a complex show. ## Module-related tasks
Use a graph asset to Create a FXUse an Asset Graph/pages/xM33h26K538wAojcBBDC#2.-use-an-asset-graph/files/TygU7330mFbo2aYV3GxY
Frame and Reset View in PHOTONFX Graph Frame and Reset View/pages/rIAbFnUJLVlXK7znaNQi#3.-fx-graph-frame-and-reset-view/files/mfIH1P7l3RtWXXgdZmXn
Find in...Find FX Graph in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#4.-find-fx-graph-in-the-timeline-i-o-manager/files/cgryQZuReIT1AwwWSpbm
Drag and Drop in PHOTONDrag-and-Drop a FX Graph onto the Timeline to Create an FX Graph Clip/pages/oFB9Sr3N3OTnOqlDdWza#2.-drag-and-drop-a-fx-graph-onto-the-timeline-to-create-an-fx-graph-clip/files/MmJGQsRAWhs6mDgXJNin
Step-by-stepPrimitives Tracking/pages/-M4tRnzBt1XTx2AgjeXf/files/JRlbvD5ljjHhfLrLavvK
Step-by-stepControlling an addressable LED strip using the Art-Net Mapping node/pages/-M4tH0t8o7Lhr6j67wFy/files/ZoORKUjfuCEVCw46zSx3
# I/O Manager {% embed url="" %} ## Description I/O stands for IN and OUT. This module allows users to interact with third-party devices and software over many different protocols. {% hint style="info" %} **OPEN THE I/O MANAGER MODULE** Select {System > I/O Manager} or press \[Alt+I]. {% endhint %} ## Features * **MIDI**: Connect MIDI devices through USB. Supports 14bit MIDI and motorized sliders feedback. * **DMX**: Use Art-Net or sACN protocols over Ethernet to connect with lighting consoles and DMX fixtures. * **Network Protocol**: Send UDP, TCP and HTTP messages to specific ports and IP addresses in order to converse with other software and devices. * **Input Devices**: Access textures from video input cards, NDI and SPOUT streams, DirectShow and integrated test cards. Currently supported video input card brands: AJA and Bluefish * **Audio Devices**: Capture or output multi-channel audio through ASIO or DirectShow. * **Audio Analysis**: Analyze audio and map the data to any slider or access it through a node in the FX Graph module. * **Albion**: Control Albion (VYV’s 3D Tracking System), manage tracking cameras and create Posistage.Net \[PSN] servers to send the positions data to third-party software. * **Matrix Switcher**: Connect to signal routing hardware devices through Ethernet in order to manage signal route and automate backups.\ Currently supported brands: Lightware, Evertz, Blackmagic Design, Aja, Extron. * **Projector Devices**: Connect to video projectors through Ethernet to control their power, shutter, lens shift, zoom and focus parameters.\ Currently supported brands: Barco, Christie, Panasonic, PJ Link. * **Network Switch**: Communicate with Network Switches through Telnet protocol. * **Copernics**: Program and assign unique IDs to Copernics (VYV’s optical markers) through USB. * **Light Sensors**: Control and get data from photodiodes for auto-calibration purposes. * **Oculus Rift**: Connect an Oculus virtual reality headset and control the POV camera with an Xbox Controller. * **HTC Vive**: Connect an OpenVR compatible virtual reality headset and control the POV camera with an Xbox Controller. * **DirectInput**: Trigger specific actions within Photon with the buttons and sticks of game controllers. * **OSC**: Create an Open Sound Control clients and servers architecture to share data between musical instruments, computers, and other multimedia devices. ## Module-related tasks
Find in...Find Input Devices in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#3.-find-input-devices-in-the-timeline/files/F9TPMhADjpBfsCM1iYlT
Use a graph asset to Create a FXAdd an Input Device/pages/xM33h26K538wAojcBBDC#1.-add-an-input-device/files/qvsc3Feda6uZdHn3jkwP
Map a MIDI Slider in PHOTONAdd a MIDI Controller/pages/DwPO5riRIDKDrYvLPbjD#1.-add-a-midi-controller/files/myy3mIGVKkA8fMwGbkDR
Use Timecode in PHOTONAdd a MIDI Device/pages/g1vZJuBHnpuedpMwLazc#1.-add-a-midi-device/files/y53xaLxvxwF5yEmY8sVd
Use Timecode in PHOTONAdd an Audio Device/pages/g1vZJuBHnpuedpMwLazc#1.-add-an-audio-device/files/ObvNCdFafN7mkCPkKNzP
Step-by-StepControlling an addressable LED strip using the Art-Net Mapping node/pages/-M4tH0t8o7Lhr6j67wFy/files/ZoORKUjfuCEVCw46zSx3
# Cue Editor {% embed url="" %} Cue Editor Overview {% endembed %} ## Description The Cue Editor module facilitates the creation of Cues. Cues are pre-recorded series of actions and parameter modifications set in a specific order of execution. This sequence of actions can be affected by variables such as delays, timings and target values. In other words, any parameter, slider, toggle or dropdown menu found in PHOTON’s UI can be affected by a Cue. {% hint style="info" %} **OPEN THE CUE EDITOR MODULE** Select {Show > Cue Editor} or press \[Alt+Q]. {% endhint %} ## Features * **Cue Recording:** Record any action performed in PHOTON and store it in a Cue. * **Cue Editing:** Tweak Cue parameters after recording. * Delay * Offset and Multiple Delays * Timing * Target Values * Easing * **Progress View:** See realtime parameter change during Cue execution. * **Playlists**: Create playlists to organize and arrange collections of Cues to facilitate show programming. * **Filters**: Activate toggles to filter out Cues from the list. ## Module-related tasks
Find in...Find Cues in the Timeline/pages/zLt29FzEU3XJ1wyTSLQw#2.-find-cues-in-the-timeline-cue-editor/files/iQ3ztjfsiArhYa3sbZtt
Control Projectors with CuesControl Projector Shutters with Cues/pages/tzOYyG4eaHKfvLbuh2fw#2.-controle-projectors-shutters-with-cues/files/ZwKgGfk74DmCtPialNk0
Create Regions and Jump Between them with a CueCreate Cues and Jump Between Regions/pages/RJeCu3lUefYWnypcHWAJ#2.-create-cues-and-jump-between-regions/files/ZwKgGfk74DmCtPialNk0
Drag and Drop in PHOTONDrag-and-Drop a Cue onto the Timeline to Create a Cue Clip/pages/oFB9Sr3N3OTnOqlDdWza#4.-drag-and-drop-a-cue-onto-the-timeline-to-create-a-cue-clip/files/ZD3xCNQ6RmCDdEnrkAxu
## Related Documentation {% embed url="" %} User Guide / 4. Programming a Show / 1. Cue Editor {% endembed %} # Mapping Manager {% embed url="" %} Mapping Manager Overview {% endembed %} ## Description This module facilitates the management of external and internal control and communication protocols. Most parameters in PHOTON can be controlled from external sources such as devices or software or internal sources such as tracking data streamed from ALBION. Almost all sliders and buttons in PHOTON’s interface can be linked to a control source. {% hint style="info" %} **OPEN THE MAPPING MANAGER MODULE** Select {System > Mapping Manager} or press \[Alt+N]. {% endhint %} ## Supported protocols and available control sources * ALBION * Audio Analysis * Keyboard * MIDI * DMX * OSC * Network Protocols (UDP or TCP/IP) * Direct Input * Third-Party Automation Protocols ## Features * Global Mappings. * Presets to organize and export controls using pages. Also allowing multiple mappings on the same sensor. * Search field and filters to manage mappings. * Ability to remap the values of incoming and outcoming data streams. ## Module-related tasks
Map a MIDI Slider in PHOTONBind a Physical Slider to PHOTON/pages/DwPO5riRIDKDrYvLPbjD#2.-bind-a-physical-slider-to-photon/files/2IfJtfVuKLIOmlj6sqYl
## Related documentation {% embed url="" %} User Guide / 4. Programming a Show / 1. Cue Editor {% endembed %} {% content-ref url="/pages/8B8KbLlWzsHZH16HYfmS" %} [Cue Editor](/modules/cue-editor) {% endcontent-ref %} # Network Monitor {% embed url="" %} Network Monitor Overview {% endembed %} ## Description The Network Monitor allows users to have an overview of the current activity on a PHOTON network. {% hint style="info" %} **OPEN THE NETWORK MONITOR TOOL** Select {System > Network Monitor} or press \[Alt+M]. {% endhint %} ## Features * Computer Name list. * Connections status: * Localhost: Computer is the local server. * Ok: Computer is connected and responding. * ⚠️: Computer has not responded for over one second. * – : Computer is not connected. * CPU Usage in %. * Disk reading speed in megabytes per second. * Ram usage in %. * Video ram usage in %. * GPU usage in %. * GPU temperature in Celsius degrees. * Photon Network usage in %. * Frames per second outputted by the overall system. * Current task completion in % (import, conversion, etc.). * User Interface and openGL context status: * UI: user interface is displayed. * NFS: not full screen, Photon GL Context is not covering the entire span of the outputs. * OK: everything is fine and no UI is shown. ## Module-related tasks
Map a MIDI Slider in PHOTONBind a Physical Slider to PHOTON/pages/DwPO5riRIDKDrYvLPbjD#2.-bind-a-physical-slider-to-photon/files/2IfJtfVuKLIOmlj6sqYl
## Related documentation {% embed url="" %} User Guide / 2. Setting-Up a Show / 1. Settings / 1.1.5. Monitoring and Troubleshooting {% endembed %} # Output Control {% embed url="" %} Output Control Overview {% endembed %} ## Description The Output Control tool allows users to modify contrast and brightness for specific outputs or adjust contrast for all outputs. The Output Control tool is applied at the end of the image processing chain, just before the visual data is sent to the outputs and allows to go black on selected displays. {% hint style="info" %} **OPEN THE OUTPUT CONTROL TOOL** Select {System > Tools > Output Control} or press \[Alt+O]. {% endhint %} ## Features * **List**: available displays or outputs in the 3D Scene such as Projectors and Led Displays. * **Show Assigned Displays**: activate to only show the displays linked to outputs. * **Sliders**: control Brightness and Contrast for the selected outputs in the list. * **Button**: reset Brightness and Contrast for the selected outputs in the list. * **Master Contrast slider**: control all of the outputs’ contrast at once. ## Module-related tasks
Map a MIDI Slider in PHOTONBind a Physical Slider to PHOTON/pages/DwPO5riRIDKDrYvLPbjD#2.-bind-a-physical-slider-to-photon/files/2IfJtfVuKLIOmlj6sqYl
## Related documentation {% embed url="" %} User Guide / 2. Setting-Up a Show / 2. 3D Scene {% endembed %} {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} # Timecode {% embed url="" %} Timecode Overview {% endembed %} ## Description The Timecode tools allow users to monitor various timecode sources connected to the PHOTON network. {% hint style="info" %} **OPEN THE TIMECODE MODULE** Select {System >Tools > Timecode} or press \[Alt+D]. {% endhint %} ## Features * **Master clock**: displays timecode received from the selected source in the Timecode list. * **Timecode list**: manage multiple timecode sources. * **FPS dropdown menu**: select a framerate to interpret the received timecode. * **Offset**: apply an offset onto the received timecode. * **Timecode source type selection**: * **Linear**: (LTC) SMPTE timecode data encoded into an audio signal. * Select an option from the Audio Device dropdown menu. The device has to be available {I/O Manager > Audio Devices}. * Select an option form the Audio Channel dropdown menu. * Select the source’s sample rate from the samples slider. * Displays the average frequency of the received LTC. * **MIDI**: (MTC) [SMPTE timecode](https://en.wikipedia.org/wiki/SMPTE_timecode) data encoded into a series of small “quarter-frame” [MIDI](https://en.wikipedia.org/wiki/MIDI) messages. * Select a source option for the MIDI Device dropdown menu. The device has to be available {I/O Manager > MIDI}. * **OS Clock**: internal timecode data generated from the system clock. ## Module-related tasks
Use Timecode in PHOTONManage MIDI Timecode/pages/g1vZJuBHnpuedpMwLazc#2.-manage-midi-timecode/files/WmsHpOO3mFBQNJIp4joY
Use Timecode in PHOTONManage Audio Timecode/pages/g1vZJuBHnpuedpMwLazc#2.-manage-audio-timecode/files/aHW1BKgcHKW7HvDbZ2L3
# Rendering {% file src="/files/-Lpj2mh19Hn0E2iOaoQu" %} Download step-by-step {% endfile %} ## Description The Rendering module allows you to render either a Screen or the 3D Scene Preview as a video file, either a Quicktime .mov or a .vci (VYV’s video file format). This feature gives you the possibility to flatten a complex compositions into one piece of media, create a fly-through of your show in the 3D Scene Preview, or even use PHOTON as a visualisation tool for the early phases of your creation process. {% hint style="info" %} The Rendering module doesn’t support audio. {% endhint %} {% hint style="info" %} You can open the Rendering module by pressing ​\[Alt+R]​ or by selecting {System> Tools > Rendering} in the Main Menu bar. {% endhint %} ![](/files/-LgYf-ZiVU7hndHXTQPe) ## Features #### Path & Name Clicking on the folder icon will open a dialog box allowing you to choose the render location and the name of the file. You can also edit the path and name directly in the input box next to the icon. #### Output Resolution 2 sliders to set the render resolution in X (width) and Y (height). {% hint style="info" %} In **Preview 2D** Mode the render resolution should match your **Sub Sequence** (screen) resolution or at least its ratio in a lower resolution. In **Preview 3D**, the resolution can be chosen by the user. {% endhint %} #### Duration Sets the portion of time you want to render in the Timeline or the duration of your fly-through. {% hint style="info" %} ​In and Out are buttons that will set the current playhead position as a time value would do in the time sliders {% endhint %} #### Frame Rate Sets the framerate of your rendered video. {% hint style="info" %} You should match your project frame rate, which is set in the General Tab of the Settings module. {% endhint %} #### Format Sets the codec in which the video will be encapsulated. {% hint style="info" %} ​Rendering is local. If you export a .VCI with the idea to reuse it in the show, you’ll need to re-import it on all of the servers over the network. ​See: File Manager module & Sync Selected. {% endhint %} #### Output This section features 3 dropdown menus. #### Output mode The Preview 2D​ option will render the selected Screen as a video (what you see in the preview window of the Timeline in Preview 2D Mode). The Preview 3D​ option will render the 3D scene in its current rendering state/mode. #### Sequence Selects the active timeline you will render. #### Sub Sequence Selects the screen you will render. #### Record Button Starts the recording. #### Status Once the render is started, progress will be displayed in %. {% hint style="warning" %} Resolution should be set within reason considering the limits of OpenGL and the user’s machine capabilities. {% endhint %} {% hint style="info" %} The rendering module uses the converted medias on your local machine to export a video. If your local machine is set in controller mode, all the medias will be rendered in very low resolution (see Preview MPixel Limit in the **​File Manager Settings**​), impacting the final render. {% endhint %} {% hint style="info" %} When creating a .mov, the Rendering module will first create a .vci, then convert it into the Quicktime format. This part is not displayed in the interface of PHOTON and can take a lot of time. The only way to know if it is complete is by monitoring the file size of the .mov in Windows. {% endhint %} {% hint style="info" %} When creating a .mov, the .vci created by the rendering module will not be deleted from the selected folder and will take up a lot of space. You‘ll need to delete it manually in Windows except if you have selected the content folder as your rendering target. Then both the .vci and the .mov will appear in your File Manager as local files. {% endhint %} ## Module-related tasks
2D Video Rendering/pages/dWtHgmvteKTkKdJCi3l9/files/OBDVZYm5aTT49JtFWt5C
3D Video Rendering/pages/0yfX9isszVIx6goesAxH/files/j7yIqkX7UmNTiIsi4OOt
# Shadow ## Description PHOTON features a module named Shadow that can record and playback the user’s interactions with its interface. It can be used to: * document on-going projects; * build templates you can exchange with colleagues; or * provide info as a task-oriented reference tool. While in Playback mode, the recorded interactions will affect the current state of your project. For example, if you playback a recorded action, the project’s state will revert to what it was when the action was first recorded. This behavior will allow you to load tutorial files that will teach you the software’s basics by animating the interface. You will also be able to export files containing recorded sets of actions that can be sent to other users and specialists for support. {% hint style="warning" %} Always save your PHOTON Project before recalling any Sessions. When a Session is recalled or played back, the project’s state will change to reflect what is stored in the Session and all prior work will be erased. {% endhint %} ## 1.1 Shadows and Sessions Sessions are recordings of user interactions. Any interaction done with the mouse or keyboard can be recorded and can be played back. A Shadow is a container for Sessions, which makes it possible to select and group Sessions in sequential order. This structure has been designed to facilitate the creation of Shadows, which are lists of individual tasks contained in a recorded Session. Even if it is possible to record multiple tasks within a Session, VYV recommends treating them as independent containers for single actions only, because it is possible to load previously saved Sessions into new Shadows to create complex sequences out of simple building blocks. ### 1.1.1 Default and Custom Shadows Default Shadows are pre-recorded by VYV and packaged with our software. They cover most of the basic tasks a user will have to execute while building a typical project. Default Shadows should be seen as complementary to PHOTON’s technical documents. They cannot be modified. Custom Shadows are user-generated and are meant for performing support operations and facilitating cooperation between user groups. Designed to allow UI recordings, Custom Shadows can be used to identify software bugs, to share project design tricks or help spot UI manipulation mistakes. ## 1.2 Recording Sessions Before recording Sessions make sure you have correctly created, selected and named a new Shadow. #### Create a New Shadow 1. Open the Shadow module by pressing \[Alt+Z] or by selecting {System > Shadow} in the module’s Main menu. 2. In the Shadow module, click on the \[+] button located under Custom Shadows. A new Shadow will be created. 3. To select the new Shadow, click once on the new entry in the Custom Shadows list. 4. To change the new Shadow’s name using the keyboard, double-click on the new Shadow entry to open a text field. ![](/files/-LfuG3F3dbKVnPpfJSCE) Once a new Shadow has been created, selected and renamed, you will need to create, rename and select a new Session. #### Create a New Session 1. To create a new Session in the Shadow module, click on the \[+] button located on top of the Shadow breakdown list. 2. To select the new Session, click once on the new entry in the selected Shadow breakdown list. 3. To change the new Session’s name using the keyboard, double-click on the new entry to open a text field. ![](/files/-LfuG3F4cNvGqGljvnpZ) A new Session is now ready for data entry and UI recording. ### 1.2.1 Session Viewer The Session Viewer is comprised of three sections: * The top section contains the title of the selected Session. You can edit the title by clicking on the text field, but the Session’s name in the Shadow breakdown list will remain the same. * The middle section is where you can write a description that will be linked to the UI recording you will eventually make. Click on the text field to enter your description. * The bottom section will display modifier keys that will be used during the recording. ![](/files/-LfuG3F5CgJoq1ViGP51) ### 1.2.2 Record Options This section contains a \[Keyboard & Mouse] toggle that should be activated because you will record UI interactions. Once you have made sure the toggle is activated you can record your Session. ### 1.2.3 Recording a Session * To record a Session, click on the \[RECORD] button. When the recording is activated, the button will turn green. Complete the sequence of actions with the UI you want to record, then click again on the \[RECORD] button. Session recording will stop and the button will go back to its original state. ![](/files/-LfuG3F6en6N0onS7fRI) ## 1.3 Playback Sessions Once you have recorded Sessions (and eventually Shadows) you might want to play them back. {% hint style="warning" %} Before recalling any Session, make sure you saved a copy of your current project – by selecting {File > Save Project...} or by pressing \[Ctrl+Shift+S] – because the Session will overwrite your project’s current state. {% endhint %} * Select the Shadow that contains the Session you want to recall by clicking on it in either the Default Shadows list or the Custom Shadows list. ### 1.3.1 Play Options The Play Options window section contains two toggles. Before launching any pre-recorded Sessions, make sure the \[Keyboard & Mouse] toggle is activated. The \[Minimize] toggle can be activated before recalling Sessions. If activated, the size of the Shadow module will be reduced to help you see the action. ### 1.3.2 Playback You can playback Sessions to watch the UI animate itself and execute a pre-recorded action. Keyboard and mouse inputs are not blocked on playback, so you should refrain from using them while a Session is recalled. 1. Select the Session you want to playback by clicking on its name in the Shadow breakdown list. 2. Click on the play button . ### 1.3.3 Initial State Recall To learn how to replicate steps that you previously watched, you might want to recall the state your project was in prior to a Session recording. 1. To recall a project’s initial state, select the Session you want to recall by clicking on its name in the Shadow breakdown list. 2. Click on the downward arrow button . ## 1.4 Export/Import Shadows and Sessions Shadows and Sessions can be exported and imported to foster cooperation between users and simplify support operations. Shadows will be saved as .shd files, and Sessions will be saved as .ssd files. | | | | ----------------------------------- | --------------------------------------------------------------------------------- | |

Import Custom Shadows

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| | Export Custom Shadows |

| | Import Custom Sessions |

| | Export Custom Sessions |

| # Navigation & UI In this section of the step-by-step documentation, we will explore the navigation and UI of the software, providing you with a guides on how to use and customize them to suit your needs. # Drag and Drop in PHOTON ## 1. Drag-and-Drop a Media onto the Timeline to Create a Media Clip {% embed url="" %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Select the Video filter. 2. Drag-and-drop a video file on a Layer to add it onto the Timeline. 3. (The Media Clip’s length will match the video file’s duration). 4. Navigate back to the File Manager module. 5. Select the Image filter. 6. Drag-and-drop an image file to add it on a Layer onto the Timeline. 7. (The Media Clip’s default length is defined in Settings > General > Timeline > Clip). {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} ## 2. Drag-and-Drop a FX Graph onto the Timeline to Create an FX Graph Clip {% embed url="" %} FX Graph: Drag-and-Drop a FX Graph onto the Timeline to Create an FX Graph Clip {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE FX GRAPH MODULE** Select {Show > FX Graph} or press \[Alt+X]. {% endhint %} 1. Select an existing Graph or create a new one by clicking on the \[+] button. 2. Drag-and-drop an FX Graph to add it on a Layer onto the Timeline. 3. (The FX Graph Clip’s default length is defined in Settings > General > Timeline > Clip). {% content-ref url="/pages/NyZbznIp4U8kttDJrt87" %} [FX Graph](/modules/fx-graph) {% endcontent-ref %} {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} ## 3. Drag-and-Drop an Input Device onto the Timeline to Create an Input Device Clip {% embed url="" %} I/O Manager: Drag-and-Drop an Input Device onto the Timeline to Create an Input Device Clip {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE SETTINGS MODULE** Select {System > Settings} or press \[Alt+S]. {% endhint %} 1. Select the Input Devices tab. 2. Select an existing device from the list or create a new one using the \[+] button and select\ it with the Available Devices dropdown menu. 3. Drag-and-drop an Input Device to add it on a Layer onto the Timeline. 4. (The Input Device Clip’s default length is defined in Settings > General > Timeline >\ Clip). {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/zpn835ObiQyAz9eOkAyk" %} [Settings](/modules/settings) {% endcontent-ref %} ## 4. Drag-and-Drop a Cue onto the Timeline to Create a Cue Clip {% embed url="" %} Cue Editor: Drag-and-Drop a Cue onto the Timeline to Create a Cue Clip {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE CUE EDITOR MODULE** Select {Show > Cue Editor} or press \[Alt+Q]. {% endhint %} 1. Select the Audio Devices tab. 2. Select an empty slot from the Active Devices list. 3. Select an audio interface from the Available Devices list to assign it as the Active Device. 4. Incoming audio timecode will be displayed in the Preview window if set correctly. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/8B8KbLlWzsHZH16HYfmS" %} [Cue Editor](/modules/cue-editor) {% endcontent-ref %} ## 5. Drag-and-Drop 3D Object onto the 3D Scene {% embed url="" %} 3D Scene: Drag-and-Drop 3D Object onto the 3D Scene {% endembed %} {% hint style="info" %} **OPEN THE 3D SCENE MODULE** Select {Show > 3D Scene} or press \[Alt+C]. {% endhint %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} 1. Select the 3D Object filter. 2. Drag-and-drop 3D objects to add them in the 3D Scene. {% content-ref url="/pages/D1nWJknawMrQUBqA0MNr" %} [3D Scene](/modules/3d-scene) {% endcontent-ref %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # Find in... ## Description This Step-by-Step will demonstrate how to use the Find In function in order to perform an Advanced search in the Timeline or in the 3D Scene. ## 1. Find Media in the Timeline - File Manager {% embed url="" %} File Manager: Find Media in the Timeline {% endembed %} {% hint style="info" %} The advanced search is accessible from the {Tools > Advanced Search} menu, by clicking the \[Open The Timeline’s advanced search] button or by pressing \[Ctrl+Alt+F]. {% endhint %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} 1. Select a media file and right-click on the selected file to open a contextual menu. 2. Select {Find in Timeline} to open the Timeline advanced search window. 3. The advanced search result list displays the number of times this specific media is used on the timeline as well as its screen and In point. 4. Clicking on a result from the advanced search will select the media clip on the Timeline. 5. Select a Screen filter from the dropdown menu to show the search result only for the selected screen. 6. Use the \[Go to Previous] button to move the Playhead position to the previous search result media clip. 7. Use the \[Go to Next] button to move the Playhead position to the next search result media clip. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} ## 2. Find Cues in the Timeline - Cue Editor {% embed url="" %} Cue Editor: Find Cues in the Timeline {% endembed %} {% hint style="info" %} The advanced search is accessible from the {Tools > Advanced Search} menu, by clicking the \[Open The Timeline’s advanced search] button or by pressing \[Ctrl+Alt+F]. {% endhint %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE CUE EDITOR MODULE** Select {Show > Cue Editor} or press \[Alt+Q]. {% endhint %} 1. Select a cue from the list and right-click on the selected cue to open a contextual menu. 2. Select {Find in Timeline} to open the Timeline advanced search window. 3. The advanced search result list displays the number of times this specific cue is used on the timeline as well as its screen and In point. 4. Clicking on a result from the advanced search will select the cue clip on the Timeline. 5. Select a Screen filter from the dropdown menu to show the search result only for the selected screen. 6. Use the \[Go to Previous] button to move the Playhead position to the previous search result cue clip. 7. Use the \[Go to Next] button to move the Playhead position to the next search result cue clip. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/8B8KbLlWzsHZH16HYfmS" %} [Cue Editor](/modules/cue-editor) {% endcontent-ref %} ## 3. Find Input Devices in the Timeline {% embed url="" %} I/O Manager: Find Input Devices in the Timeline {% endembed %} {% hint style="info" %} The advanced search is accessible from the {Tools > Advanced Search} menu, by clicking the \[Open The Timeline’s advanced search] button or by pressing \[Ctrl+Alt+F]. {% endhint %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE I/O MANAGER MODULE** Select {System > I/O Manager} or press \[Alt+I]. {% endhint %} 1. Select the Input Device tab 2. Select an active device from the list and right-click on the selected device to open a contextual menu. 3. Select {Find in Timeline} to open the Timeline advanced search window. 4. The advanced search result list displays the number of times this specific device is used on the timeline as well as its screen and In point. 5. Clicking on a result from the advanced search will select the Input Device clip on the Timeline. 6. Select a Screen filter from the dropdown menu to show the search result only for the selected screen. 7. Use the \[Go to Previous] button to move the Playhead position to the previous search result Input Device clip. 8. Use the \[Go to Next] button to move the Playhead position to the next search result Input Device clip. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/yxg4ci8XP7yebQ3L5JJz" %} [I/O Manager](/modules/i-o-manager) {% endcontent-ref %} ## 4. Find FX Graph in the Timeline - I/O Manager {% embed url="" %} FX Graph: Find FX Graph in the Timeline {% endembed %} {% hint style="info" %} The advanced search is accessible from the {Tools > Advanced Search} menu, by clicking the \[Open The Timeline’s advanced search] button or by pressing \[Ctrl+Alt+F]. {% endhint %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} {% hint style="info" %} **OPEN THE FX GRAPH MODULE** Select {Show > FX Graph} or press \[Alt+X]. {% endhint %} 1. Select a graph from the list and right-click on the selected graph to open a contextual menu. 2. Select {Find in Timeline} to open the Timeline advanced search window. 3. The advanced search result list displays the number of times this specific graph is used on the timeline as well as its screen and In point. 4. Clicking on a result from the advanced search will select the FX Graph clip on the Timeline. 5. Select a Screen filter from the dropdown menu to show the search result only for the selected screen. 6. Use the \[Go to Previous] button to move the Playhead position to the previous search result FX Graph clip. 7. Use the \[Go to Next] button to move the Playhead position to the next search result FX Graph clip. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/NyZbznIp4U8kttDJrt87" %} [FX Graph](/modules/fx-graph) {% endcontent-ref %} ## 5. Find in the 3D Scene - File Manager {% embed url="" %} File Manager: Find in 3D Scene {% endembed %} {% hint style="info" %} The advanced search is accessible from the {Tools > Advanced Search} menu, by clicking the \[Open The Timeline’s advanced search] button or by pressing \[Ctrl+Alt+F]. {% endhint %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} 1. Select a 3D Object or Blender file from the list and right-click on the selected object to open a contextual menu. 2. Select {Find in 3D Scene} to open the 3D Scene advanced search window. 3. The advanced search result list displays the number of times this specific object is used in the 3D Scene as well as its name and Model Name. 4. Clicking on a result from the advanced search will select the 3D Object in the 3D Scene. 5. Use the \[Go to Previous] button to select the previous search result object from the primitive list. 6. Use the \[Go to Next] button to select the next search result object from the primitive list. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # Frame and Reset View in PHOTON ## 1. Timeline Frame and Reset View {% embed url="" %} Timeline: Frame and Reset View {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Select a Clip on the Timeline. 2. Press \[F] to frame the Timeline view to the Clip’s length. 3. Select multiple Clips on the Timeline. 4. Press \[F] to frame the Timeline view. (The Timeline will frame around the longest Clip selected.) 5. Select a Region. 6. Press \[F] to frame the Timeline view to the Region’s length. 7. Press \[R] to reset the Timeline view. 8. Press \[F5] to recenter the Timeline view to the Playhead’s current position. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} ## 2. Preview Frame and Reset View {% embed url="" %} Preview: Frame and Reset View {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Select a Screen. 2. Click on the \[Reset View] button or press \[R] to reset the Zoom to 100% and recenter the preview. 3. Select a Clip on the Timeline. 4. Click on the \[Frame] button or press \[F] to frame the selected Clip’s bounding box preview. 5. These manipulations can also be made from the Preview Window. {% hint style="info" %} **OPEN THE PREVIEW WINDOW** Select {Show > Preview} or press \[Alt+V]. {% endhint %} {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} {% content-ref url="/pages/S0Yshm65bIYd9uPIilu5" %} [Preview](/modules/preview) {% endcontent-ref %} ## 3. FX Graph Frame and Reset View {% embed url="" %} FX Graph: Frame and Reset View in PHOTON {% endembed %} {% hint style="info" %} **OPEN THE FX GRAPH MODULE** Select {Show > FX Graph} or press \[Alt+X]. {% endhint %} 1. Select a Graph from the list. 2. Press \[F] to frame the FX Graph view to the whole Graph. 3. Select a Node and press \[F] to frame the FX Graph view to this specific node. 4. Press \[R] to reset the Zoom to 100% and recenter the view. {% content-ref url="/pages/NyZbznIp4U8kttDJrt87" %} [FX Graph](/modules/fx-graph) {% endcontent-ref %} ## 4. 3D Scene Frame and Reset View {% embed url="" %} 3D Scene: Frame and Reset View in PHOTON {% endembed %} {% hint style="info" %} **OPEN THE 3D SCENE MODULE** Select {System > 3D Scene} or press \[Alt+C]. {% endhint %} 1. Select a Primitive from the list and press \[F] to frame the 3D Scene view around this object. 2. Select multiple Primitives from the list and press \[F] to frame the 3D scene view around these objects. 3. Frame all Primitives by clicking on {View > Frame All}. 4. Press \[R] to recenter the 3D Scene view to the origin. 5. In Calibration mode, press \[F] to frame the Reference Objects of the selected projector. {% content-ref url="/pages/D1nWJknawMrQUBqA0MNr" %} [3D Scene](/modules/3d-scene) {% endcontent-ref %} # ALBION MEET ALBION: SPATIAL RECONSTRUCTION, TRACKING, AND NEXT-LEVEL INTERACTIVITY. # ALBION & Lighting consoles integration (guide) This is the written guide for ALBION & Lighting consoles integration, and a video version of it can be found in the following article: [ALBION & Lighting consoles integration (video)](/step-by-step-tutorials/albion/albion-and-lighting-consoles-integration-video) #### This guide will show you how to: * Link a pre-programmed light console project to PHOTON; * Extract lighting fixtures IDs and Attributes; * Merge predefined fixtures groups to optical markers; * Assign lighting fixtures groups to optical markers; * Automate lighting fixture movements with tracking data. ## Description Completing the steps listed above will allow the lighting designer to fully use PHOTON and ALBION’s optical tracking features and show previsualization tool. Since this product’s integration is built on lighting console project XML exports, the lighting designer will not have to reprogram lighting fixtures in the PHOTON’s interface. Besides providing a WYSIWYG-like previsualization feature and interactive control over moving lights in 3D, the initial lighting fixture calibration process will also be greatly eased by this products integration. Even once the console is connected to PHOTON, the lighting designer will still be able to work directly from the board and ride the pots to modify lighting patterns and change lighting fixtures assignations on the fly without having to deal with the media server interface. This step-by-step document has been strictly developed for MA Lighting’s grandMA consoles product series. PHOTON and the lighting console will communicate through the Art-Net or sACN protocol. Please make sure that both the server and the console are on the same network and that Art-Net or sACN is enabled in the grandMA network settings. {% hint style="info" %} The Art-Net protocol is built on class A address scheme. They range from 2.1.1.1 to 2.255.255.255 for the primary address or 10.1.1.1 to 10.255.255.255 for the secondary address. {% endhint %} {% hint style="warning" %} We highly recommend using sACN over Art-Net. sACN is far less stressful for networks and much more efficient on terms of processing than Art-Net. The sACN protocol allows the user to choose between multicast and unicast transmission. Also, the grandMA will automatically throttle the framerate from 42 fps to 1 fps if no changes are made to parameters within a Universe. (Normal operation will resume once parameters are modified.) Finally, sACN is mostly used in modern lighting networks, while Art-Net relates to older lighting technology. {% endhint %} ## Lexicon * **Fixture layer:** a complete layer of fixtures used in the current grandMA project. * **Fixture type:** the definition of a specific DMX fixture. # PHOTON | grandMA Project Link This section covers the preliminary steps in a PHOTON - grandMA project integration. This initial phase will then allow you to build interactive lighting fixture control or integrated project previsualization. It is mandatory to complete the 4 following steps before undergoing any other actions. Also, before starting out this step-by-step, you need to have a fully working and calibrated network of cameras tied to the Albion server as well as active Copernics on your stage space. # 1. Create and Define the ALBION Preset Type and its Attributes in the grandMA The second step in this project is to import Presets that contain all of the Attributes ALBION will affect or listen to. Once imported, these Attributes can easily be added to each of the Fixture Types used in the grandMA project. ## 1.1. Import ALBION Fixture Type 1. Make sure to download the latest version of the ALBION fixture and copy the file to a USB key formatted in FAT32. () 2. Create a first folder named “gma2” at the root of the USB Key. 3. Create a second folder inside the first one called \[library]. 4. Place the fixture file inside the \[library] folder. 5. In the grandMA, click on \[Setup] then on the \[Patch and Fixture and Schedule] button. 6. Click on the \[Fixture Type] button. 7. Click on the \[Import] button and select your USB device instead of \[internal]. 8. Look for the ALBION fixture by typing Albion in the fixture text field, select it and click on \[import]. ![](/files/-M7iaHGnFjrdK98IDnPt) ![](/files/-M7iaHGoj5uDBqbj1GRs) ![](/files/-M7iaHGpuvJoBR3cmSBG) {% hint style="info" %} Once imported, this fixture will give you access to all of ALBION’s parameters. Displayed names can be changed by modifying the screen name of the attribute but the library names need to stay the same in order to link correctly each parameter to the right ALBION feature. {% endhint %} ### 1.2. Add the ALBION Attributes to Fixture Types 1. Identify the Fixtures you want to link to the ALBION system. You will need to edit their related Fixture Type to add the ALBION Attributes you want to link to them. 2. Select the Fixture Type you want to edit by clicking on its entry in the Fixtures Types list. 3. Click on the \[Edit] button. 4. Click on the \[Add] button or right-click on the \[New] button located at the bottom of the Attributes list. 5. Select the Attribute you want to add by clicking on its entry in the Select Attribute window. 6. Once the Attribute has been added to the Fixture Type, you will need to assign a coarse and a fine value to the Fixture Type. This is done to obtain 16 bits of resolution for the values passed to the Attribute. (Use the ALBION DMX chart below) 7. Assign a patch break to the newly added Attribute. The ALBION Attributes must reside on the same patch break but they cannot reside on the patch break used by the Fixture Type’s default Attributes. The standard practice is to set the patch break at 2 for ALBION Attributes while leaving the default Attributes at patch break 1. 8. Click on the \[Setup] button to return to the grandMA main menu. A Warning window will open. 9. Click on the \[Yes] button of the Warning window to save the changes.
![](/files/-M7iaHGqtj8uOO7tYSiC) ![](/files/-M7iaHGrTNIsHkBIB5Ze) {% file src="/files/-MF13dcVzNtWlYecC\_wu" %} ALBION DMX Chart {% endfile %} ### **1.3. Patch break 2 -- Albion attributes** * In the grandMA, click on the \[Setup] button then on the \[Patch and Fixture and Schedule] button. * Patch the 2nd break of all fixtures that contains ALBION attributes to an empty universe.
![](/files/-M7iaHGuxL3Oqge0ci83) ![](/files/-M7iaHGtFHq_ikvtqXDv) ![](/files/-M7t4-1KnpJKw5kpSiW2) * Click on the \[Setup] button to return to the grandMA main menu. A Warning window will open. * Click on the \[Yes] button of the Warning window to save the changes. ## # 2. DMX Universes Merge The second step is to merge the DMX Universes you plan to share between ALBION and the grandMA. Doing so will allow back and forth communication and seamless control for both systems. ## 2.1. Access the Network protocols page on the grandMA 1. Click (or Press) the \[Setup] button. 2. Click on the \[Network Protocols] button. 3. Click on the \[Art-Net] or the \[sACN] tab. ![](/files/-M7iaHGwylwwHHa_gBXJ) ![](/files/-M7iaHGxv5jg36k_idrK) ![](/files/-M7iaHGv4JHyWr-BiUlG) ## 2.2. Merge the Universes You will need to add 3 Configuration Lines in the Art-Net or sACN table for each Universe groups of Fixture Types you want to control. {% hint style="info" %} For example, you would need 3 Configuration Lines have 2 sequential Universes each used for a different fixture type. However, if you isolated the Universes (there would be a gap in their addressing), you might need more than 3 Configuration Lines. If you have done your pre-production and planning phase correctly, you will never need more than 3 Configuration Lines. {% endhint %} The Configuration Lines are respectively used to define how to: * output the data linked to the default Attributes of the Fixture (residing on patch break 1) from the grandMA to ALBION; * input the data sent by ALBION (relating the Fixture) to the grandMA; * output the data linked to the ALBION Attributes of the Fixture (residing on patch break 2) from the grandMA to ALBION. ### Create Configuration Line A 1. Create a new Configuration Line by right-clicking on the \[New] button located at the bottom of the table. 2. Right-click on the Mode cell of the new Configuration Line to open a contextual menu where you will select the OutputBroadcast option for Art-Net or Output multicast/unicast for sACN. 3. Right-click on the LocalStart cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the first Universe the Fixture is linked to. 4. Right-click on the Amount cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the number of Universes which are dedicated to the Fixture Type (this is why the Universes dedicated to the Fixture Type should be sequential). 5. Right-click on the Universe cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the address of the Universe ALBION will listen plus one if you are using Art-Net. Art-Net will require a combination of hexadecimal values (Subnet and Universe) if you need to go above 9. If you are using sACN, you can directly enter the number of the Universe without any offset or conversion. This Universe will be used to stream the data from the Universes set earlier on in step 3 and 4. This Universe should not be used for any other purposes. 6. If you are using sACN, Priority, Protocol and TTL should be kept at their default grandma values. (Priority: 100, Protocol: Final and TTL: 8) ### Create Configuration Line B 1. Create a new Configuration Line by right-clicking on the \[New] button located at the bottom of the table. 2. Right-click on the Mode cell of the new Configuration Line to open a contextual menu where you will select the Input option. 3. Right-click on the LocalStart cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the value that was previously input in the LocalStart cell of Configuration Line A. 4. Right-click on the Amount cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the number of Universes which are dedicated to the Fixture Type (this is why the Universes dedicated to the Fixture Type should be sequential). 5. Right-click on the Universe cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the address of the Universe which ALBION is using to pass on data to the Fixture plus one. {% hint style="info" %} grandMA2 is limited to a maximum of 10 multicast sACN input lines. If the patch requires the use of more than 10 Universes in input, PHOTON should be set in unicast instead of multicast. {% endhint %} ### Create Configuration Line C This Configuration Line deals with the Universes dedicated to ALBION’s patch breaks. This Configuration Line is identical to Line A with the exception that it concerns the patch break Universes used for the ALBION Attributes. 1. Create a new Configuration Line by right-clicking on the \[New] button located at the bottom of the table. 2. Right-click on the Mode cell of the new Configuration Line to open a contextual menu. Select the OutputBroadcast option if you are using Art-Net. Select OutputMulticast or OutputUnicast if you are using sACN. 3. Right-click on the LocalStart cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the first patch break Universe the Fixture is linked to. 4. Right-click on the Amount cell to edit its value. An Edit window will open where you will be able to enter the new value. The value number has to correspond to the number of Universes which are dedicated to the Fixture Type (this is why the Universes dedicated to the Fixture Type should be sequential). 5. Identify the Universe that corresponds to the second patch break of all fixtures to control Albion parameters. Right-click on this Universe’s cell to edit its value. An Edit window will open where you will be able to enter the new value. ![](/files/-M7iaHGyvkd0zn-btofx) {% hint style="info" %} Remember that Art-Net Universes start at 0 and use hexadecimal description. sACN protocol Universes start at 1 and use classic decimal system. {% endhint %} ## 2.3. Enable LoTP on the grandMA You will need to set the grandMA’s Art-Net communications on LoTP in order to merge correctly with ALBION. 1. Open the grandMA’s Universe Pool. 2. Right-click on each of the programmed Universes to access their page and set their DMX in Merge parameter to LoTP. ![](/files/-M7wSsJV87cT7NCIXaqm) ![](/files/-M7wSvPksXrjc6iaIJTQ) {% hint style="info" %} LoTP means the lowest value will take precedent once the DMX streams are merged. This merging mode allows PHOTON to control dimmer values for advanced features like fade on flip and fade on blockers without removing overall control from the light console. {% endhint %} ## 2.4. Network Validation Since Art-Net is broadcasted from the grandMA, there is no need to specify a destination IP address to receive the messages. However, in order for the messages to get through ALBION and the grandMA need to be connected to the same network. You must verify if the first block of the IP addresses of the grandMA and of ALBION are the same. Note: Network addresses need to start either by 2.X.X.X or 10.X.X.X since they are residing on an Art-Net network. {% hint style="info" %} If you are using sACN, make sure the settings for unicast/multicast are correctly set in the grandMA and PHOTON. In order to receive multicast input in PHOTON, you need to subscribe to at least one fixture from the Universe you are listening to. If unicast is chosen, make sure to enter in PHOTON a valid IP address that corresponds to the Main GrandMA console IP address where DMX will be sent to. {% endhint %} ## 2.5. Enable Art-Net or sACN in ALBION 1. Open the I/O Manager module by pressing \[Alt-I] or select System > I/O Manager. 2. Click on the DMX tab 3. Activate the \[Enable Server] toggle 4. Use the “Select network interface dropdown menu” to choose the interface that will be dedicated to Art-Net or sACN communication. (Its first 3 blocks must match the ones of the grandMA IP address.) 5. Make sure the Default value is set at 255. This enables the LoTP feature for ALBION. 6. For sACN, choose between multicast and unicast output. If unicast is chosen, make sure to enter a valid IP address that corresponds to the Main GrandMA console IP address where DMX will be sent to. **DMX communication is now enabled.** # 3. Export Fixture Types and GrandMA Patch The third step consists in exporting your lighting fixture show data in XML format from the light console. ## 3.1. Export Fixture Types 1. Select the project fixture types in the menu {Setup > Patch and Fixtures > Fixture Types}. 2. Select the first item in the Fixture Types list and then click on the \[Export] button using the “Only XML” option from the Choose Style menu. 3. Repeat the previous step with all the fixtures types contained in the list. By default, the grandMA will have exported each fixture type in a separate .xml file on the USB stick. ![](https://gblobscdn.gitbook.com/assets%2Fdocumentation%2F-M7i_yMr8s76pzQLKoex%2F-M7iaHGzesxFndliC2Ve%2F12.png?alt=media) ![](https://gblobscdn.gitbook.com/assets%2Fdocumentation%2F-M7i_yMr8s76pzQLKoex%2F-M7iaHH-tfhMjkmN2eQf%2F13.png?alt=media) ## 3.2 Export Fixture Layer 1. Load your project on the grandMA console. 2. Insert a USB stick (FAT32 format) in the grandMA console. 3. Select the project fixture layer in the menu {Setup > Patch and Fixtures}. 4. Press on \[Export Layer] using the “Only XML” option from the Choose Style menu. By default, the grandMA will have exported the fixture layer .xml file on the USB stick. ​![](https://firebasestorage.googleapis.com/v0/b/gitbook-28427.appspot.com/o/assets%2Fdocumentation%2F-M7i_yMr8s76pzQLKoex%2F-M7iaHH0nNOVqdaHaT03%2F14.png?generation=1589919690626854\&alt=media)​![](https://firebasestorage.googleapis.com/v0/b/gitbook-28427.appspot.com/o/assets%2Fdocumentation%2F-M7i_yMr8s76pzQLKoex%2F-M7iaHH1m3Lgi9ruNqMG%2F15.png?generation=1589919690626722\&alt=media) # 4. Import Fixture Type and grandMA Patch into PHOTON This fourth step covers import of the .xml files tied to your show lighting fixtures. 1. Remove the USB stick from the grandMA console and insert it in your ALBION Controller server. 2. Launch PHOTON and open your current show project. 3. Open the I/O Manager module by pressing \[Alt+I] or by selecting {System > I/O Manager}. 4. Click on the DMX tab. 5. In the “Fixtures” sub-window, click on the \[Edit Fixture...] button to open the Custom Fixtures window. 6. Click on the import button (the arrow pointing in the right direction). 7. Using the Windows file browser, navigate to the USB stick and select the (\*.xml)’ filter to see the various grandMA files. 8. Do a group selection with all your lighting project fixture type .xml files and click on the \[Open] button. Your files will now be accessible from PHOTON. ![](/files/-M7iaHH2hKa9domQKNpw) ![](/files/-M7iaHH3tHVm2SlnIymk) Make the following verifications in order to avoid potential errors which could create malfunctions in your project: * Make sure the channels’ names, DMX footprint and Depth are correct for all imported fixtures by comparing to the data stored in the grand MA. * Set the correct type for each Attribute. ALBION moving light attributes should be assigned to the right PHOTON parameters. For example, TRACKING = Enable Tracking, COPID = Copernic ID, etc. * We recommend deleting channels you don't need to control in Photon in order to simplify the display of the Art-Net Attributes (Gobos, shutter, colors, etc.). The default universe value will be sent for all not patched channels. You can also Hide ('H' tickbox) them if you want to keep control on them. * Make sure the grandMA’s default Attributes and the Attributes created for ALBION do not reside on the same patch break. VYV recommends to leave the default Attributes on patch break 1 and assign the ALBION Attributes to patch break 2. * Check if there is any inversion on Attributes. Make sure inverted Attributes were kept that way when they were imported in PHOTON. Manually check the 'I' tickbox for inverted Attributes that were not interpreted correctly during import. Inversions can occur in 3 different places in the grandMa: in the patch layer (Pan inv. and Tilt inv.), in the fixture type attribute (invert) and in the fixture attribute options (From / To. Or From DMX / to DMX). These inversions can be combined, check them all. * Make sure the min and max values of pan and tilt are the same than in the grandMA (usually -540, 540 and -270, 270). * Make sure the min and max zoom values correspond to the values in degrees defined in the fixture’s technical documentation (ex : 5° to 40°). ![](/files/-M7iaHH6WvDu4NMxoEV2) ![](/files/-M7iaHH5Bl2PCIHEViBz) ![](/files/-M7iaHH40rQw4_0Cshdh) 1. Open the 3D Scene module by pressing \[Alt+C] or by selecting {System > 3D Scene}. 2. Select the “Import Fixtures” option in the Primitive drop-down menu. 3. Using the Windows file browser, select the fixture layer file and click on the \[Open] button. You should now see all of your lighting fixtures sorted by layer in the Scene Primitives List. {% hint style="info" %} Some of the fixtures might not have been named correctly during the export process from the grandMA. We have encountered cases where a single fixture generated different names in the fixture layer and its fixture type XML output files. The names contained in the fixture layer file and the fixture type files have to be the same for Photon to instantiate the fixture. If such problem arises, a generic moving light primitive will be created but won’t be linked to the appropriate fixture in the I/O Manager. If you encounter this type of situation please contact us at *.* The issue can be resolved by modifying the content of the XML files using a text editor. {% endhint %} ![](/files/-M7iaHH7TaZEEIexXIdT)![](/files/-M7iaHH8jU981ho_MaCx) {% hint style="warning" %} This is how a project is structured in the file generated by the grandMA. * 1st Layer = Your grandMA project * 2nd Layer = Fixture layer * 3rd layer = Fixture (the actual moving light) {% endhint %} # 5. Light Fixture Calibration This is the last remaining step you have to go through in order to establish a bond between PHOTON and the lighting console. So far copies of your lighting show files have been loaded into PHOTON and both devices are communicating through Art-Net. You will now need to establish geometric correspondences between PHOTON and the grandMA so both devices will share a matching virtual space. This will allow you to transparently control moving lights through PHOTON and use the tracking data generated by Albion to build interactive fixture behavior. ## 5.1. Calibration Process 1. In PHOTON, open the 3D Scene module by pressing \[Alt+C] or by selecting {System > 3D Scene} if it is not already open. 2. Select a moving light by clicking on the fixture in the Scene Primitives list (if you successfully completed the previous steps, all of you moving light should be listed). 3. Select {Window > Device Control} or press \[Q] to open the Device Control window. The moving light control stream mode should currently be set to “Output”. Select the control dropdown menu (third menu from the top of the Device Control window) and change the control stream mode to “Input”. {% hint style="warning" %} The previous step should be recorded as a cue in PHOTON in order to speed up the calibration process. (Cue X: group-select the lighting fixtures in the Scene Primitives list, press Q, set the menu to input.) {% endhint %} {% hint style="info" %} Make sure PHOTON is listening to the correct universe through its input. If the moving light’s address in the grandMA is different than the one in PHOTON, apply a Uni IN offset value to match both universe (can be negative). For example, if PHOTON listens to fixture channels on universe 14 and the grandMa is talking to the moving lights on universe 4, you will need to set a Uni IN offset of -10 to listen to fixture data sent by the grandMA. {% endhint %} * Repeat the previous step with all of your moving head lighting fixtures. By selecting the “Input” control stream mode, PHOTON will transmit DMX commands sent by the lighting console to the lighting fixtures, giving a full control over all of their Attributes to the grandMA. {% hint style="info" %} You can change the I/O Control mode on many fixtures at the same time by using the multiple selection. You can delete a fixture from the 3D scene and the I/O manager by clicking on Remove link fixture (multiple selection is supported). {% endhint %} * Before moving on to the next step you will need a minimum of 4 active and identified Copernics in the stage space. Make sure you take note of the unique ID attributed to each of the Copernics you will use (the IDs are shown in the 3D Scene window) VYV recommends 5 or more Copernics to achieve better results. * Leave the media server and go back to the lighting console. Using its control interface, point all of the moving head lighting fixtures so that their beams converge on the position of the first Copernic you will use in the calibration process. To improve calibration results, make sure to use the narrowest beam the fixture can offer (you can use gobos or blades in addition to zoom and focus to get better results). Also, use the shadow created by the tracker when lights are pointing at it to help with alignment. {% hint style="info" %} The lighting console operator should save position presets for his moving head lighting fixture group corresponding to each the Copernics position used during the calibration process. Having pre-programmed positions from the lighting console will greatly speed up the calibration since they will be easily recalled. {% endhint %} {% hint style="info" %} The lighting console operator has to flip some of the fixtures in order to improve the overall calibration. The fixtures for at least 2 of the 5 Copernics should be flipped. Refer to the **Fixture Flipping** entry in Section 5.2 **Improving the Calibration** for details. {% endhint %} 1. Once the beams of all the moving head fixtures point to the Copernic go back to PHOTON’s 3D Scene and pay attention to the Calibration tool window (lower right corner of the window). 2. Make sure the moving head lighting fixtures you need to calibrate are selected (they should be highlighted in the list at the leftmost part of the Calibration tool window). 3. Before resetting the calibration, create a new Calibration Preset (on all moving lights using + or 9 dots button and rename your new preset). 4. Select the ALBION object in the Primitive List by clicking on it and click on the \[compute reconstruction] button. 5. Go back to the Calibration Tools Window and in your new preset, delete ALBION from the Reference Object list and add it one more time to update the reconstructed trackers position. Then select all the moving lights you want to calibrate in the primitive list, open properties and enable Lens shift. 6. Click on the \[Reset] button in the DMX section of the Calibration tool window to start a brand new calibration for the selected fixtures. Make sure that ALBION is used as the Reference Object and that target tracking is disabled. {% hint style="warning" %} The previous step should be recorded in a PHOTON cue. (Cue X: group-select the lighting fixtures in the Calibration Tools Window list > click on \[Reset]). {% endhint %} * Still in the DMX section set the Copernic ID with the slider. The number should match the one displayed near its representation in the 3D Scene. Click on the \[Add Point] button. {% hint style="info" %} The previous step will have to be repeated for each Copernic you will use in the Calibration process. You should record each of these action sequences in a PHOTON cue. (cue #1: group-select the lighting fixtures in the Calibration Tools Window list > set the Copernic #1 ID > click on \[Add Point], cue #2: : group-select the lighting fixtures in the Calibration Tools Window list > set the Copernic #2 ID > click on \[Add Point], etc.). {% endhint %} * To enable tracking, turn your moving lights into output mode and enable target tracking in the device control menu (Q) of the fixture from the Primitives list. ## 5.2. Improving The Calibration ### Quantity and Dispersion If you followed the previous instructions, your system should be calibrated. You might however notice a lack of precision while positioning the moving head lighting fixtures. You can improve your results by: * Selecting Copernics with a good distribution in the 3D physical space. Copernics should be scattered to cover the whole stage area where light beams will be projected. * Copernics should also be evenly distributed from the point of view of all your fixtures. You can verify this by selecting one by one each of your fixtures in the Calibration Tool window list (leftmost part of the window). Whenever you select a fixture, you will be able to “see” the distribution of the Copernics from its point of view. You avoid situations where Copernics are concentrated in a single area of the POV. * Adding additional Copernics will improve the final results. While 4 Copernics represent the minimal amount of markers needed for the calibration process, you should consider using between 5 and 7 to achieve better results. ### Fixture Flipping Fixture Flipping consists in applying a 180 degrees rotation to the Pan value and inverting (\*-1) the Tilt value of the fixtures while maintaining their light beam position. You should calibrate the lighting fixtures with the first half of the Copernics normally and flip the fixtures to calibrate remaining ones. ### How to perform a “fixture flipped” calibration: 1. Before starting the calibration, go to PHOTON’s 3D Scene and select the first moving lighting fixture in the list. 2. Press \[P] or select {Window > Properties} to open the fixture’s Properties window. 3. Activate the “Lens Shift Option” in the Properties window. 4. Calibrate your system with the first half of your Copernics normally. 5. The fixtures will now be ready to be flipped from the light console (ideally, the light board programmer should have created a ‘’flipped’’ position preset). 6. Calibrate the system using the remaining half of the Copernics. 7. If the results are still poor, try to change the “clockwise panning” option of the moving light and update the calibration by selecting a calibration point and moving it back and forth using left/right arrows. # 6. Interactive Lighting Fixture Control In order to use Copernics fitted on mobile props or performers to control moving lights pan and tilt you need to: * Have completed successfully the steps contained in the “PHOTON grandMA Project Link”; * Have established through the console a DMX merge so PHOTON and the grandMA can access the fixtures (VYV recommends using a LoTP type of merge since a blocker in the 3D Scene or a pan/tilt limit might trigger an automatic fade-out for the fixture). * Have applied the output option to the control stream mode of your lighting fixtures in PHOTON. In order to do so, go back to PHOTON, open the 3D Scene module by pressing \[Alt+C] or by selecting {System > 3D Scene}. Group-select all the lighting fixtures in the Scene Primitives list, press \[Q] or select {Window > Device Control} to open the Device Control Panel and select the output option from the control stream mode dropdown menu. (This option can also be controlled from MA using the DMXMODE Albion parameter of each fixtures.) Once these conditions are met, you will have to match a moving light fixture with the ID of a mobile Copernic tied to a performer or a prop. Once this is done, the moving light fixture group will automatically follow the performer or the prop. # 7. ALBION Attributes Descriptions ### COPID (Copernic ID) This Attribute refers to Copernic IDs and is used to provide addresses for the Copernic emitters for both ALBION and the grandMA. ### MOVERZOOM (Target Diameter) This Attribute is used to define and dynamically maintain the width of the projected light’s cone emitted by a moving head lamp. ### VDAMP (Vertical dampening) This Attribute is used to dampen lamp movements created by position change on the Y axis which might otherwise jitter. ### MINMOVEMENT (Minimum movement) This Attribute defines a threshold used to filter out position change which might be created by noisy tracking data. ### FLIPOUT (Flip fade out) This Attribute is used to specify the duration of moving head lamp’s fade out before its position is flipped. ### FLIPTIME This Attribute is used to specify the duration moving head lamp’s movement while flipping. ### FLIPIN (Flip fade in) This Attribute is used to specify the duration of moving head lamp’s fade in after its position is flipped. ### BLOCKEROUT (Blocker fade out) This Attribute is used to fade out a moving head lamp if its beam intersects with a tracked object defined as a blocker in ALBION. ### BLOCKERIN (Blocker fade in) This Attribute is used to fade in a moving head lamp if its beam stops to intersect with a tracked object defined as a blocker in ALBION. ### OFFSET X (Target offset X) This Attribute is used to apply an offset to a tracked object on the X axis. ### OFFSET Y (Target offset Y) This Attribute is used to apply an offset to a tracked object on the Y axis. ### OFFSET Z (Target offset Z) This Attribute is used to apply an offset to a tracked object on the Z axis. ### TRACKING (Enable tracking) This Attribute used to enable or disable tracking for a moving light. ### BLOBIZOOM (Blobify diameter) This Attribute defines the diameter of the resulting beam once a blobify operation has merged multiple beams. ### BLOBIDISTANCE (Blobify distance) This Attribute specifies the minimal distance acting as a threshold that will trigger the blobify operation and merge beams. (Multiple beams can be merged.) ### BLOBIFADE (Blobify transition time) This Attribute specifies the duration of the fade that occurs when beams are merged or unmerged. ### TRACKERIN (Tracker lost fade in) This Attribute specifies the duration of the fade in occurring when a tracking moving light has retrieved a missing tracker. ### TRACKEROUT (Tracker lost fade out) This Attribute specifies the duration of the fade out occurring when a tracking moving light has lost a tracker. ### FLIPMODE (Flip mode) This Attribute controls the Flip mode of a moving light. If the Attribute’s value is set at 0, the moving light is set in *quick tilt* mode and will flip as soon as it can be find the shortest path to reach a tracker. If the Attribute’s value is set at anything else than 0, the *quick tilt* mode will be disabled and the moving light will wait to reach its pan or tilt limit to flip. ### DMXMODE (DMX mode) This Attribute sets the fixture in input or output mode for calibration or tracking purposes. Depending on the selected mode, values will be inputted to or outputted from break 1. ### GOBO1 (Gobo index) This Attribute gives control over the gobo index of a virtual moving light in simulated in video projection or LED systems. ### GOBO1\_POS (Gobo speed) This Attribute gives control over the rotation of a virtual moving light in simulated in video projection or LED systems. ### DIM This Attribute is used to dim a fixture or to control the dimming value of a virtual moving light in simulated in video projection or LED systems. ### COLORRGB1 (Color red) This Attribute specifies the amount of red color content in a real fixture or in a simulated one in PHOTON. ### COLORRGB2 (Color green) This Attribute specifies the amount of green color content in a real fixture or in a simulated one in PHOTON. ### COLORRGB3 (Color blue) This Attribute specifies the amount of blue color content in a real fixture or in a simulated one in PHOTON. ### PAN (Pan) This Attribute is used to pan a fixture. ### TILT (Tilt) This Attribute is used to tilt a fixture. ### ZOOM (Zoom) This Attribute is used to zoom a fixture. {% hint style="warning" %} Download the ALBION DMX chart [here](/step-by-step-tutorials/albion/albion-and-lighting-console-workflow-integration/photon-grandma-project-link/1.-create-and-define-the-albion-preset-type-and-its-attributes-in-the-grandma#1-2-add-the-albion-attributes-to-fixture-types). {% endhint %} # ALBION & Lighting consoles integration (video) ## Part 1. MA fixture and patch configuration {% embed url="" %} MA fixture and patch configuration {% endembed %} ## Part 2. Albion fixture and patch configuration {% embed url="" %} Albion fixture and patch configuration {% endembed %} ## Part 3. Fixture Calibration and Tracking {% embed url="" %} Fixture calibration and tracking {% endembed %} # Programming # Create Regions and Jump Between them with a Cue ## 1. Create Regions {% embed url="" %} Timeline: create Regions {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Locate Regions Editing in the Timeline window and activate the \[Display] toggle. 2. Click on the \[+] button to create a new Region. 3. Set the Region In-point at 00:00:00:00. 4. Set the Region Out-point at 00:02:00:00. 5. Create a second Region on the Timeline. 6. Change the In-Point and Out-Point timing by selecting the Region and holding \[left+click]\ while moving it on the Timeline. 7. Select one of the Region’s edge to adjust its duration. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} ## 2. Create Cues and Jump Between Regions {% embed url="" %} Cue Editor: Create Cues and Jump Between Regions {% endembed %} {% hint style="info" %} **OPEN THE CUE EDITOR MODULE** Select {Show > Cue Editor} or press \[Alt+Q]. {% endhint %} 1. Create a new cue. Click on the \[+] button. 2. Activate the \[Record] toggle. 3. Navigate back to the Timeline module. Select {Show > Timeline} or press \[Alt+T] 4. Select region 1. 5. Navigate back to the Cue Editor module. Select {Show > Cue Editor} or press \[Alt+Q]. 6. Deactivate the \[Record] toggle to stop recording actions. 7. Repeat previous steps for region 2. 8. Click on the \[Go] button to jump from the current Playhead position to region 1 or region 2. {% content-ref url="/pages/8B8KbLlWzsHZH16HYfmS" %} [Cue Editor](/modules/cue-editor) {% endcontent-ref %} ## 3. Use Cue Clips to Jump Between Regions {% embed url="" %} Timeline: Use Cue Clips to Jump Between Regions {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Add a Cue Clip to the Timeline at the end of region 1. 2. Navigate to Cue Properties and select the region 2 Cue as its source. 3. Double-click on the Timebar to move the Playhead. 4. Press the \[space bar] to start playback. 5. Watch the Playhead jump to the region 2 when reaching the Cue Clip. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} # 3D Scene # Projection Study Guide **This guide will show you how to:** * Create a virtual representation of the stage and its screens; * Add virtual video projectors; * Adjust the virtual video projectors parameters; * Create a heat map for projection surfaces; * Export the projection study data. {% file src="/files/-LyjeNwQAMJ4bGmGqvFd" %} Download step-by-step {% endfile %} {% embed url="" %} Projection Study {% endembed %} ## Description Determining the correct quantity and placement of video projectors is one of the most important task in the early design stages of a production. Luckily PHOTON features Projection Study tools that will help designers and integrators previsualize how video projectors will behave in the venue. Completing the steps listed above will allow you to use PHOTON to build a full video projection simulation and export its data in standard file formats such as .CSV and .PNG so you can share your video design with your production team and integrators. ## Initial Server Configuration You will need only one server running PHOTON acting as a Controller to perform a Projection Study. Follow these steps to switch your server to the Controller System Mode: 1. Start PHOTON on the selected server. 2. Select {System > Settings} or press \[Alt+S] to open the Settings module. 3. Select your server by clicking on its entry in the Photon Selection list. 4. Select the {Controller} option from the System Mode dropdown menu. A Confirmation Box will open. 5. Click on the \[OK] button to validate your choice and close the Confirmation Box. The server now operates as a Controller. ![](/files/-LyjN4vgE87ThQvAeDnj) ## Virtual Stage Construction It is possible to build a virtual representation of the production’s stage in PHOTON. You can add 3D models of sets, props and architectural features of the venue to build a realistic previsualization. While these can help you create a beautiful virtual stage, they are not essential (see section 5.2 Decorative Stage Elements). The only crucial set elements of a Projection Study are the Screens. The main objective of a Projection Study is to determine if the quantity and placement of video projectors provide sufficient coverage. Therefore, projections surfaces should be your prior concern. #### Screens PHOTON features built-in basic 3D Primitives such as Planes, Spheres or Cubes that can be used to represent Screens. You can also import custom-made 3D models that match your production’s screens. Please refer to the PHOTON manual for detailed instructions on how to import these 3D models in your project (see section 2.1 Importing 3D Objects in Chapter 3 Importing Content). {% hint style="info" %} PHOTON uses the metric system. All measures in the 3D Scene are in meters. Before starting to build the virtual 3D representation of your stage, make sure you have access to its measurement in the metric system. {% endhint %} ### Add a Screen As stated before, it is possible to use built-in Primitives or custom-made shapes when creating Screens. Both methods are shown below. The Plane has been selected for the built-in model example. 1. Select {System > 3D Scene} or press \[Alt+C] to open the 3D Scene module. 2. Select {Primitive > Default Objects > Plane} from the 3D Scene menu to add a Plane in the 3D Scene. ![](/files/-LyjN4vh-W8ihnRhu9w5) OR 1. Select {System > 3D Scene} or press \[Alt+C] to open the 3D Scene module. 2. Select {Primitive > OBJ > *customModelName.obj*} from the 3D Scene menu to add a custom model in the 3D Scene. OR 1. Select {System > 3D Scene} or press \[Alt+C] to open the 3D Scene module. 2. Select {Show > File Manager} or press \[Alt+F] to open the File Manager module. 3. Activate the 3D Object filter by clicking on its entry in the Filters list. 4. Locate the 3D model you want to import to the 3D Scene form the filtered list 5. \[Click+Drag+Drop] the 3D model from the File Manager module to the 3D Scene module. ![](/files/-LyjN4viUhhoNDG_A0pP) ### Rename the Screen 1. Double-click the 3D Object’s entry in the Scene Primitives to open a text-field. 2. Write the name of the Screen then press \[Enter]. ![](/files/-LyjN4vjxjWq0GtqJYqj) ### Scale the Screen You might want to adjust the Scale properties of the Screen so they match the proportions of the physical Screen. 1. Select {Option Panels > Transformations} from the 3D Scene menu or press \[T] to open the Transformations panel. 2. Modify any of the X, Y or Z Scale slider value by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. ![](/files/-LyjN4vk9WO55_64ZVrB) {% hint style="info" %} It is also possible to change the Scale values of a 3D object through direct mouse manipulations. To do so: * Press \[X] or click on the \[Scale] button located in the top right corner of the 3D Scene window to enable Scaling transformations. * Select the Screen you want to scale by clicking on its entry in the Scene Primitives list. * \[Drag-click] any of the 3 colored handles located on the selected object to change its scale. {% endhint %} ### Position the Screen You have to position the Screen in the 3D Scene as it will be on the real-life stage. 1. Make sure the Transformations panel is still open and the Screen still selected. 2. Modify any of the X, Y or Z Position Slider value by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. ![](/files/-LyjN4vlLNX-qR725OBl) {% hint style="info" %} It is also possible to change the position values of a 3D object through direct mouse manipulations. To do so: * Click on the \[Position] button located in the top right corner of the 3D Scene window or press \[V] to enable position transformations. * Select the Screen you want to scale by clicking on its entry in the Scene Primitives list. * \[Drag-click] any of the 3 colored handles located on the selected object to change its position. {% endhint %} ### Rotate the Screen You have to orient the Screen in the 3D Scene as it will be on the real-life stage. 1. Make sure the Transformations panel is still open and the Screen still selected. 2. Modify any of the X, Y or Z Rotate sliders values by either manipulating them directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. ![](/files/-LyjN4vmJG09vg-FXXC2) {% hint style="info" %} It is also possible to change the rotation values of a 3D object through direct mouse manipulations. To do so: * Click on the \[Position] button located in the top right corner of the 3D Scene window or press \[C] to enable rotation transformations. * Select the Screen you want to rotate by clicking on its entry in the Scene Primitives list. * \[Drag-click] any of the 3 colored handles located on the selected object to rotate it. {% endhint %} ### Create Additional Screens * Repeat steps 2.1 to 2.4 for each Screen you need to add to the 3D Scene. {% hint style="info" %} It is possible to duplicate 3D Objects. If you happen to have many identical Screens, you can make copies that you will rename and position later on. To duplicate a Screen: 1. Right-click on the Screen’s entry in the Scene Primitives list to open a contextual menu. Select {Duplicate}. OR 1. Select the Screen you want to duplicate by clicking on its entry in the Scene Primitives list. 2. Press \[Ctrl+D]. {% endhint %} ## 3D Scene Mode, Rendering Type and Projection Study Settings The 3D Scene is a module that allows users to perform many different tasks. You will need to change the 3D Scene’s operation mode to the Projection Study mode to access the appropriate set of functionalities for the current task. ### Projection Study Mode Selection * Click on the \[Projection Study] button to select this operation mode. Once the 3D Scene switches to the Projection Study mode, the background turns white. ![](/files/-LyjN4vnyueTBDCH4HFO) ### Background Color Adjustment This step is optional. If you wish to continue your work on a dark grey background do the following: 1. Select {View > Background Color} from the 3D Scene menu to open the Background Color window. 2. Use the sliders or buttons in the window to select the desired background color. ![](/files/-LyjN4voa9Za67A85wMf) Do the following if you wish to return to the default background color: * Select {View > Reset Background Color} from the 3D Scene menu. ### Rendering Mode PHOTON uses wireframe rendering by default. In order to complete a Projection Study, you will need to either switch the rendering mode to Projection Rendering or Shadows Rendering. **Shadows Rendering** will render light and video projected onto Screens including shadows that can be casted by a 3D object. This is the preferred Rendering mode for a projection study since it will show problems created by shadows. It is however more demanding in terms of computer performance. **Projection Rendering** will render light and video but not shadows casted by objects. This mode is less computationally intensive. * Select {View > Shadows Rendering OR Projection Rendering} from the 3D Scene menu. (You can also cycle through the Rendering modes by pressing \[W] until you select Projection or Shadows Rendering.) ![](/files/-LyjN4vpZxpGz8Q7hmmU) The appearance of the Screens in the 3D Scene rendering should have changed. Screens should now be solid grey and feature an orange outline when selected. ### Projection Study Settings In order to specify to PHOTON to take into account the angles of the Screens and the Projectors when calculating illumination, you will need to change a light type setting. 1. Click on the Settings button (the sprocketed wheel) located in the top right corner of the 3D Scene window. 2. Select {Reflected Light} from the dropdown menu located at the top of the Settings panel. ![](/files/-LyjN4vqvxgG9gNWWlHy) {% hint style="info" %} The angle at which a beam emitted by a Projector hits a surface has a tremendous impact on the amount of light that will be reflected. Extreme angles will greatly diminish the amount of lux measured on a Screen. You can verify this by switching the light type setting. {% endhint %} ## Video Projectors Placement and Adjustments Now that the Screens are in place, you will need to create virtual instances of your Projectors in the 3D Scene. ### Add a Video Projector * Select {Primitive > Display > Projector} from the 3D Scene menu to add a Projector in the 3D Scene. ![](/files/-LyjN4vr7fo0CJLsyK4F) ### Rename the Projector It is preferable to individually name Projectors, especially in large projects. This might help you identify problematic or inefficient Projectors in your design. Do the following to rename the Projector: 1. Double-click the Projector’s entry in the Scene Primitives to open a text-field. 2. Write the name of the Projector then press \[Enter]. ![](/files/-LyjN4vsbqDv5iGdval6) ## Adjust the Projector’s Properties You will need to use the physical video projector and lens technical specifications in order to set the 3D Scene’s Projector’s parameters. Most of its parameters can be set in the Properties panel. Follow these steps to access the Projector’s properties panel: 1. Make sure the Projector is currently selected by clicking on its entry in the Scene Primitives list. 2. Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the Projector’s Properties panel. ![](/files/-LyjN4vtkdCfFSRdfQpm) ### FOVY *Field Of View Y-axis* or fovy, corresponds to the vertical angle of the Projector’s lens expressed in degrees. Since manufacturers rarely provide information about their product’s fovy in technical documents, you will have to work with the lens’ throw ratio, which should be readily available. To determine your Projector’s fovy, you need to change the value of the fovy parameter while watching the lens parameter located in the viewport. The lens parameter will change as you input new values in the fovy slider. The lens parameter value should match your lens’ throw ratio. Follow these steps to set the 3D Scene’s Projector fovy: * Click-drag the fovy slider in the Properties panel to set the Projector’s fovy. Modify the fovy parameter’s value until the lens parameter value located in the viewport matches the lens’ throw ratio. OR 1. Double-click the fovy slider in the Properties panel to open a numeric field. 2. Type the fovy value in the field then press \[Enter]. Make sure the lens parameter value located in the viewport matches the lens’ throw ratio. ![](/files/-LyjN4vuYmG0rRX4k0TM) The Projector’s beam is represented by a square-based pyramid. You should notice that the shape of the pyramid changes when you modify the Projector’s fovy property. ### Lens Shift Projectors feature a lens shift x and lens shift y parameters that are accessible through the Properties panel. If you are planning to apply lens shift to the physical projectors, their virtual counterpart’s properties should represent it. The percentage of horizontal and vertical lens shifts of the physical projectors have to be entered in the properties panel. 1. Make sure the Projector is selected and that the Properties panel is open. 2. Modify the lens shift x and lens shift y sliders values by either manipulating them directly with the mouse or by \[Double-clicking] on them to open a text field where you can enter numerical values. ![](/files/-LyjN4vvKnW-x87Momfe) ### Resolution You have to match the physical projector’s native resolution with the one you created in the 3D Scene. Inputting the 3D Scene’s Projectors resolution is important since the Projection Study features pixel pitch information about the various Screens. 1. Make sure the Projector is still selected and that the Properties panel is open. 2. Locate the Resolution section of the panel. You might have to unfold it by double-clicking on the section’s title. 3. Modify the Resolution X and Resolution Y sliders values by either manipulating them directly with the mouse or by \[Double-clicking] on them to open a text field where you can enter numerical values corresponding to the specification of the physical projector. ![](/files/-LyjN4vwbF9qUcR2bc0H) ### Portrait mode If the physical projector is rotated on the Z axis by 90 degrees to achieve a portrait image ratio, you will need to represent this in the 3D Scene. Do the following to activate the Projector’s portrait mode: 1. Make sure the Projector is still selected and that the Properties panel is open. 2. Click on the \[portrait mode] toggle in the Properties panel to enable the Projector’s portrait mode. ![](/files/-LyjN4vxQ1kOyeRU7fWV) {% hint style="warning" %} Before taking the decision to rotate or flip the 3D Scene Projectors, make sure that such actions can be done with the physical projectors. Manufacturers provide information about safe projector rotation angles in their technical specification documents. {% endhint %} {% hint style="info" %} You can also rotate the Projector at 90 degrees on the Z-axis to achieve a result similar to the activation of the Portrait Mode. The Rotate Z slider can be found in the Transformations panel. {% endhint %} ### Power The Projector’s power corresponds to its output in lumens. This value is expressed in thousands (K) in PHOTON’s UI. This parameter is included in the viewport located in the lower right corner of the 3D Scene window. Do the following to set the Power parameter for the Projector: 1. Make sure the Projector is still selected. The viewport’s name should be the same as the Projector. You should be able to see a slider named Power in the Projector Stats window section. 2. Modify the Power slider value by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. ![](/files/-LyjN4vy2hEIpT-cCq9p) {% hint style="info" %} If you are building a Projection Study for a project that involves a large amount of Projectors, you might want to create easily identifiable groups of them. You can change the color of the Projectors’ beams by modifying the Projection Red, Green and Blue parameters located in the Properties panel. {% endhint %} ### Position the Projector You have to position the Projectors in the 3D Scene as it will be on the real-life stage. You should first use the same method that was presented in section 2.4 (Position the Screen) to roughly place the Projector in the 3D space. 1. Make sure the Transformations panel is still open and the Screen still selected. 2. Modify any of the X, Y or Z Position Slider value by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. ![](/files/-LyjN4vzEv9dx9nYY1KC) 1. Click on the \[Position] button located in the top right corner of the 3D Scene window or press \[V] to select the 3D Scene’s position transformations tool. 2. Drag-click] any of the 3 colored handles located on the selected Projector to change its position.\ \ Then, you should refine the Projector’s position and orientation using the viewport.
3. Make sure the Projector is still selected. The viewport’s name should be the same as the Projector. 4. You can now use the mouse to interact with Projector’s POV show in the viewport: * \[Left-click-drag] to change Projector’s “look at” parameter. (Doing so will change its orientation) * \[Right-click-drag] to change Projector’s position on the X and Y axis * \[Mousewheel] to change Projector’s position on the Z axis. * \[Ctrl+left-click-drag] f you wish to modify the Projector’s position and orientation without changing its target. ![](/files/-LyjN4w-29nwE9Ncvq4r) ### Set the Projector’s Target You will have to extend the 3D Scene Projector’s beam (represented by a pyramid) until it reaches the surface of the Screen it is intended to light up. This will allow PHOTON to determine how much light reaches the surface. 1. Make sure the Projector is still selected and that its orientation and position are set. 2. Then you can either: * Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the 3D model’s Properties panel. Change the pyramid length slider value by either manipulating it directly with the mouse or by \[Double-clicking] in it to open a text field where you can enter a numerical value. OR * Press \[V] once to enable the 3D Scene’s position transformations. Three arrows corresponding to the X Y and Z axis (red, green and blue) should appear at the summit of the pyramid representing the Projector. Press \[V] a second time to select the Projector’s target located at the base of the pyramid. The arrows representing the 3 axis should now appear at the base of the pyramid. \[Click+drag] the yellow cube representing the intersection of the axis to extend an re-orient the bases of the pyramid. ![](/files/-LyjN4w0M9euduj5kjN_) OR * Press \[Shift+E] to extend the pyramid’s target onto the Screen facing the Projector. 3\. The pyramid should be extended until it reaches the Screen. You verify this by making sure the pyramid’s target (a line terminated with a point at the center of the beam) touches the Screen. ![](/files/-LyjN4w1X7oBGDZJW7W2) ### Create Additional Projectors Repeat steps 4.1 to 4.5 for each Projector you need to add to the 3D Scene. {% hint style="info" %} It is possible to duplicate 3D Objects. If you happen to have many identical Projectors, you can make copies that you will rename and position later on. To duplicate a Projector: * Right-click on the Projector’s entry in the Scene Primitives list to open a contextual menu. Select {Duplicate}. OR 1. Select the Projector you want to duplicate by clicking on its entry in the Scene Primitives list. 2. Press \[Ctrl+D]. {% endhint %} ## Blending Projection blending is enabled by default in PHOTON. You should keep it enabled when you build the previsualization in order to make sure that there is no blending problem. It is however preferable to submit a second version of the Projection Study where projection blending is disabled in order to show explicitly the overlapping zones for surfaces and Projectors. There will be no visible overlaps if Blending is enabled. DO the following to disable blending: 1. Click on the \[B] button located to open the Blending panel. 2. Click on the \[Enable] toggle in the Blending panel to disable the blending in the 3D Scene. ![](/files/-LyjN4w2xj78QegKg9V7) ## Shadows Projector placement can be tricky. An actor or a mobile set element might at one point break a projection beam and create and unwanted shadow. The Projection Study is the perfect context to identify in advance potential occlusions. Once your Projectors and Screens are set in the 3D Scene, you have to add 3D objects that will reproduce potential occlusions. These objects will represent actors or moving sets. Identify a section of the show that might produce such type of problem so you can try to re-create the situation in the previsualization. 1. Select {View > Shadows Rendering} from the 3D Scene menu. 2. Select {Primitive > OBJ > *objectofyourchoice.OBJ*} from the 3D Scene menu to add a custom model that will create occlusions. 3. Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the Projectors Properties panel. 4. Make sure that Shadows are enabled for this model by clicking on the \[Shadows] toggle in the Properties panel. 5. Select {Options Panels > Transformations} from the 3D Scene menu or press \[T] to open the Transformations panel. ![](/files/-LyjN4w3_gXFpzne0bkt) 6\. Move the model where it is intended to be using the Translate X, Y and Z sliders.\ 7\. Observe the effect the model has on the projection surfaces. ## Understanding the Results The Projection Study should now be complete. Here follows a few indications about some of the readings featured in the Projection Study. ### Heatmaps You should notice that Screens now feature a color hue ranging from blue to red, indicating the amount of light they reflect. ![](/files/-LyjN4w4RrbVYd_y-aCn) #### **Lux** The scale is expressed in lux, which is an illuminance measurement unit corresponding to the amount of light reaching a point from all directions (1 lux = 1 lumen / square meter). ![](/files/-LyjN4w5A93RCUCFkl_Q) #### **How Much?** It is very difficult to come up with a blanket statement about the amount of light needed since conditions vary a lot from one show to the other. Without having prior knowledge of the context in which you are planning to project, it is impossible to give a determine how much light is needed. However, experience has shown us that in most cases (tours and large scale events), you should aim for a minimum of 300 lux reflected by projection surfaces. We suggest a minimum of 100 lux for surfaces in architectural video projection contexts (video projected on buildings at night). #### **Color Scale Modification** The amount of lux expressed by the color scale can be modified to help visualize potential illumination problems. The PJ Lux Min and PJ Lux Max parameters control how the scale expresses lux. Do the following to modify these parameters: 1. Click on the Settings button (the sprocketed wheel) located in the top right corner of the 3D Scene window. 2. Modify the PJ Lux Min and PJ Lux Max sliders values by either manipulating them directly with the mouse or by \[Double-clicking] in them to open text fields where you can enter numerical values. ![](/files/-LyjN4w6joZBq1_cQKz7) ### Lumens per Projector Besides the amount of light globally reflected by the Screens, you should consider having a look at the data on a per Projector basis in order to determine if you get the most out of your set-up. Once a Projector is selected, have a look at the power parameter in the viewport. There will be a measure expressed in lux that corresponds to the amount of light the Projector throws on the surfaces. The information provided might help you reconsider the Projector’s position or orientation. Do the following in order to access the amount of incident light beamed by the Projector at the distance expressed by its pyramid’s length: 1. Make sure the Projector is selected by clicking on its entry in the Scene Primitives list. The viewport’s name should be the same as the Projector. 2. Have a look at the value expressed in lux listed besides *power*. ![](/files/-LyjN4w7TdXILXuVWnnI) ### Pixel Pitch Another important piece of information you should monitor on a per Projector basis is the size of the pixels once they reach a surface. The resolution of a Projector and the distance until its light reaches a Screen determines the size of pixels. Large pixels might be a problem for audience sitting to a Screen. Do the following in order to have information about a Projector’s Pixel Pitch: 1. Make sure the Projector is selected by clicking on its entry in the Scene Primitives list. The viewport’s name should be the same as the Projector. 2. Have a look at the values expressed in millimeters besides pixel width and pixel height, ![](/files/-LyjN4w8xvzr3jdtSuge) ## Projection Study Documents Once you have completed the construction of your virtual and placed the Projectors in their optimal position, you will have to communicate with other specialists and technicians that might not use PHOTON. To do so, you will export a .CSV file and make .PNG screen captures of your project. ### Data Export Do the following to output a .CSV file that will contain all the relevant information concerning the Screens and the Projectors: 1. \[Shift-click] on all the Projectors and Screens entries located in the Scene Primitives list to perform a group selection. 2. \[Right-click] on one of the selected items to open a contextual menu. 3. Select {Export > Export CSV} from the contextual menu. A Save As window will open. ![](/files/-LyjN4w9uVUTGe3BBEfK) 4\. Navigate to the location where you want te file to be saved, write a file name and press the \[Save] button. ### Screen Capture Do the following to make .PNG screen captures of the 3D Scene: 1. Use the Default Camera of the 3D Scene Press to frame a section of the virtual stage. 2. Press \[Ctrl+P]. A Save As window will open. 3. Navigate to the location where you want the file to be saved, write a file name and press the \[Save] button. ## Additional Topics ### Built-in Video Projector 3D Models It is possible to load a 3D model that represent a specific Projector model in the 3D Scene. This can help technical integrators visualize the position and the volume taken by the devices. Do the following to add a model of the physical projector in the 3D Scene: 1. Select a Projector by clicking on its entry in the Scene Primitives list. 2. Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the Projectors Properties panel. 3. Select one of the available options in the brand model dropdown menu. This menu is the second starting from the top. ![](/files/-LyjN4wA4glVC3wGMCBJ) PHOTON currently features two Projector built-in models: the Panasonic DZ21K and the Barco FLM HD20. ### Decorative Stage Elements It is possible to add models in the 3D Scene that do not behave as Screens. For example, you might want to add architectural and technical features of the venue that will enhance the previsualizations. If you wish to include such objects, you should modify their Surface type in the Display Options section of the Properties panel. Once declared as Decorative surfaces, PHOTON will not include these objects in its illumination calculations and will not create corresponding Screen containers in the Timeline module. 1. Select the 3D model you wish to declare as Decorative by clicking on its entry in the Scene Primitives list. 2. Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the 3D model’s Properties panel. 3. Unfold the Display options section of the Properties panel and select the {Decorative} option from the Surface type dropdown menu. (The {Projection Surface} option is selected by default for newly created 3D objects.) ![](/files/-LyjN4wBthF_mosXhyUK) ### LED Screens Some of the Screens in the 3D scene might use LED’s and therefore not be dedicated to projection. It is important to declare LED Screens as such while building a Projection Study. Otherwise, they will be taken into account by PHOTON in the illumination calculations. 1. Select the 3D model you wish to declare as a LED Surface by clicking on its entry in the Scene Primitives list. 2. Select {Options Panels > Properties} from the 3D Scene menu or press \[P] to open the 3D model’s Properties panel. 3. Unfold the Display options section of the Properties panel and select the {LED Surface} option from the Surface type dropdown menu. (The {Projection Surface} option is selected by default for newly created 3D objects.) ![](/files/-LyjN4wCIiC7oYr7FeFC) # Camera Calibration Based on 3D Plane The following step-by-step guide describes the calibration process of a camera 2D using a plane as a Reference Object. In a scenario where ALBION is set as the reference, a manual 3D calibration could be achieved using seven points of the point cloud. {% file src="/files/-Lpj0sWFlgZlLIDxkaxo" %} Download step-by-step {% endfile %} ## Server Settings 1. Open the Settings module with \[Alt+S] or by selecting {System > Settings} in PHOTON’s Main Menu. 2. Click on the PHOTON tab. 3. Select the server that you will be using to calibrate the camera from the PHOTON Selection list located at the left of the Settings window. 4. In the System Mode drop-down menu, choose between the Controller or the Display Master operation mode. 5. Click on the Control tab. 6. Both ALBION Control and Auto Calib Control drop-drown menu should be set to the ALBION & Auto Calib Master. {% hint style="info" %} If you are not using Optitrack cameras, skip directly to the following I/O Manager section. In the case where you have Optitrack cameras, do the next steps in the Control tab and jump right away to the plane creation. {% endhint %} ## I/O Manager & Input Devices 1. Open the I/O Manager module \[Alt+I] or select {System > I/O Manager}. 2. Click on the Input Devices tab. 3. Select the camera you want it calibration from the available input devices. 4. Click on the \[button] and select the newly created slot in the Active Device list. 5. In the Available Devices dropdown menu, select the camera that you want to assign to the slot. ### 3D Scene 1. Open the 3D Scene module with \[Alt+C] or select {System > 3D Scene}. 2. Select the Calibration operation mode by pressing \[4]. 3. Add a camera in the 3D Scene by selecting {Primitive > Input > Camera} in the 3D Scene menu bar. 4. Select the new camera in the Scene Primitives list located on the left. 5. Open the Properties panel by pressing \[P] or select {Window > Properties} from the 3D Scene Main menu. 6. Look for the Input Device in the top section of the Properties panel and use the dropdown menu to select the camera previously declared as an 7. Input Device in the I/O Manager module. 8. Create a new plane in your scene by selecting {Primitive > Default Objects > Plane}. 9. Select the plane by clicking on its entry in the Scene Primitives list.\ Open the Transformation panel by selecting {3D Scene > Window > Transformation}. 10. Measure the LED screen or the projection surface in real life. 11. Insert the correct X and Y scales values in the Scale sliders in the Transformation PAnel (measures are in meters). 12. Insert the value of -90 in the Rotate X slider so the plane is parallel to the grid of the 3D Preview. 13. Click on the \[Set freeze] button located at the top of the Transformation panel. ### Calibration and Camera Settings 1. In the Calibration Tools Window located at the bottom right corner of the 3D Scene window, select the camera that now appears as a device that can be calibrated. 2. In the SLAC Settings, change the Don’t Apply Settings for the Apply Reconstruction Settings. 3. The camera should be set in MJPEG in Retro Reconstruction Settings. 4. The IR Filter must be enabled if there are infrared lights in use. 5. Adjust the Gain and Exposure settings in order to see correctly through the camera. 6. At the bottom of the Calibration Tools Window, you will find the Objects Reference menu. Click on the \[x] button to delete the current object. The reference will go back to manual. 7. Look at the plane in the 3D Scene Preview and press \[Ctrl-shift] to see which Calibration Points are available. The 3D points should turn yellow when \[ctrl+shift] are pressed. 8. Hold \[ctrl+shift] and double-click on a green dot to declare a Calibration Point. Once declared, Calibration Points increase in size and turn white. 9. Go back in the Calibration Tools Window and select the camera view mode. 10. A white cross should appear in the camera view. Use \[left-click+drag] to move the cross around. Also, keyboard arrows can be used if the mouse and focus is on the red area in the Calibration Tools Window. 11. Place that cross onto the first corner of the screen. If you start with the top left cross, you should move it on the top left corner of your real life object or projection surface. 12. Do the same for the other three corners of the plane. ### Final Result Once the camera has been calibrated the result should look like the picture below. # Make a Fly Through of the 3D Scene This guide explains how to use the Rendering module to create a Fly Through. {% file src="/files/-Lpj27Ah2L1RjkgpS9X\_" %} Download step-by-step {% endfile %} You will need to use the following modules: * Rendering module; * Cue Editor module; * 3D Scene module; * Timeline module. ## First set the following parameters of the **Rendering module**: 1. Render folder: must be the Content folder of your project. 2. Output resolution should be set as desired. 3. Duration should be set as as the length of your fly-through and match the course of the playhead in the Timeline module. 4. Frame rate should reflect the one of your project. 5. MSAA: select multisample anti-aliasing. 6. Output Format: either .MOV or .VCI. 7. Output Mode: Preview 3D will render the 3D scene in the current selected mode. 8. Sequence : which timeline will be rendered on the screens in the 3D scene in case you are in texture mode. ## **In the 3D Scene module** * Set the ​3D Scene​ in the desired Operation mode either by selecting the mode at the top right or by pressing \[1], \[2], \[3] or \[4] to toggle between Modeling, Projection Study, Operation or Calibration. {% hint style="info" %} The background color can be changed in all modes except for the Calibration mode. Select {View > Background Color} from the 3D Scene module’s Main menu. A color picker widget will open and let you select the desired color. {% endhint %} You can either use the default camera or set a custom camera by selecting one from the 3D Scene camera selection dropdown menu located in the top-right corner of the 3D Scene window. To set a specific lens on a custom camera, select Window> Properties or Press \[P] with the camera selected. You will the access the the properties for the selected camera. Use the fovy slider from the Properties panel to specify the lens’ field of view. There is no camera path animation in PHOTON. However, camera positions can be cued. You can also manually move your camera to create your fly-through or create a cue that will Frame \[F] different cameras in time for a smoother movement. By selecting a camera in the 3D Scene Primitives list and pressing \[F], you will force the camera of the scene to move to that point of view. By placing cameras in your Scene and creating cues that select and frame cameras with delays between them, you will create an animated fly-through. # Automatic Calibration and Real Time Alignment Guide {% file src="/files/-Lpj36EguyRyx9RCXKcQ" %} Download step-by-step {% endfile %} This guide will show you how to: * Perform an automatic calibration; * Activate the real time projector alignment feature; * Enable tracking for projection Screens. ## 1.1 Description Completing the steps listed above will allow you to use PHOTON’s auto-calibration feature. This step-by-step guide describes all the interface manipulations needed to achieve an auto-calibration. The set-up described in this guide is a simple one that was selected to facilitate comprehension. Your own set-up size, configuration and complexity might vary. Once a video projection set-up has been automatically calibrated, it is possible to activate real time video projector alignment and screen tracking. Sections [1.3](/step-by-step-tutorials/3d-scene/automatic-calibration-and-real-time-alignment-guide#1-3-real-time-alignment) and [1.4 ](/step-by-step-tutorials/3d-scene/automatic-calibration-and-real-time-alignment-guide#1-4-screen-tracking)cover these topics. ## 1.2 Automatic Calibration To perform an automatic calibration you will need to have a fully working set-up that includes video projectors and their screens, cameras connected to a POE network switch and at least one PHOTON server. The Mosaic Topology must be correctly configured PHOTON Servers (the Mosaic Topology should be enabled on each server) before completing the next steps. ### Create the Server Group Creating the Server Group will be the first step of the Automatic Calibration Process. Make sure the network is correctly configured before starting the process. 1. Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. 2. Click on the network ring \[pixbutton] button to open the Create Network Group window. 3. A list located on the left side of the window will allow you to include or exclude servers from the group by checking or not checking their associated checkboxes. If PHOTON has been launched on all of your servers, and if the servers reside on the same network, they should appear in the Photon Selection servers list located on the left side of the Settings window (while the PHOTON tab is selected). 4. Select the servers you want in the group by checking the boxes next to their name. When selected, the servers will be identified by a green check mark. 5. Click on the \[Apply] button to create a Server Group. 6. Once a Server Group is created, you should make sure the PHOTON Network is fully functional and that all of your servers are communicating properly. 7. Select {System > Network Monitor} from the main menu or press \[Alt+M] to open the Network Monitor module. This module displays information about each server in the Server Group. ### 1.2.2 Apply System Modes and Camera Control Options PHOTON Servers operate differently depending on the selected System Mode. It is also crucial to specify which Server has control over the cameras. A PHOTON Group is organized around a primary server which maintains synchronization and control over the remaining secondary servers. This primary Server is usually a Controller Server while the latter are Display Servers. Display Master Servers act as in-betweens, meaning they share the properties of both Display and Controller Servers. ALBION Servers are dedicated to streaming tracking data. All of the following manipulations should be done from the Server acting as the primary Server. 1. Determine which Servers will play which role in the Group. 2. Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. 3. Select a Server from the Group by clicking on its entry in the Photon Selection list. 4. Choose an option from System Mode dropdown menu. The selected option will determine the Server’s System Mode. 5. Repeat steps 3 and 4 with each entry of the Photon Selection list. 6. Now that the System Modes have been attributed, determine which Server will take over the cameras during the automatic calibration process. The server will either be a Controller, an ALBION or a Display Master server depending on the configuration of your set-up. 7. Click on the \[Control] tab located at the top of the Settings window. 8. Select the option corresponding to the name of the Server which will take over the cameras from both the ALBION Control dropdown menu and the Auto-Calib Control dropdown menu. ### 1.2.3 Create Video Outputs You will now create in PHOTON virtual video outputs that will be linked the physical video projectors. Make sure the video projectors are powered and connected to the Servers before completing the next steps. 1. Open the 3D Scene module by pressing \[Alt+C] or by selecting {System> 3D Scene} from the main menu. 2. Select {System > Settings} from the main menu or press \[Alt+S] to open the Settings module. 3. Select a Display Server by clicking on its entry from the Photon Selection list. 4. Click on the \[+] button to add Virtual Video Outputs for the selected Server. Each Virtual Video Output must correspond to a Physical Video Output. 5. Each time a Virtual Video Output is created a Confirmation Box will open and ask if you want to create a Projector in the 3D Scene. Click on the \[Yes] button each time. {% hint style="info" %} A square-base pyramid corresponding to a newly created video output is simultaneously created in the 3D Scene as a primitive. This primitive is representation of the Virtual Video Output and is linked to a real-life video projector. {% endhint %} 1. Repeat steps 3, 4 and 5 for every Display Server in the Group. You will now have to make sure that the physical video projectors are correctly connected and identified. 2. Navigate to the 3D Scene module and select the Calibration mode by clicking on the \[Calibration] toggle. Once the Calibration mode is selected, the UI will turn red. 3. Click on the gear button to open the Options menu. 4. Enable \[Display Ident] by clicking on its toggle. You should now see the projectors ID cards displayed in your set-up. Each projector will display an identification card that features a unique color. If a projector does not display an ID card, either it is not powered, connected or it is not linked to a Virtual Video output. Once you have verified the status of your projectors, click again on the \[Display Ident] toggle to disable the function. ### 1.2.4 Enable ALBION and Integrate the Cameras ALBION is a PHOTON module dedicated to tracking. Even if you do not plan to track anything, ALBION is solicited in the automatic calibration process. The module will gather position data and IDs generated by the Copernics (VYV’s optical marker system). 1. Open the 3D Scene module by pressing \[Alt+C] or by selecting {System> 3D Scene} from the main menu. 2. Create a new instance of ALBION in the 3D Scene by selecting {Primitive > Automation > Albion}. You should now see a new entry in the Scene Primitives list named Albion. (By default, ALBION is enabled when created.) 3. Make sure that the Albion entry in the Scene Primitives list is selected (it should be highlighted). If not click on the Albion Scene Primitives list entry. 4. Press \[P] or select {Options Panels > Properties} to open the Properties panel. (The displayed properties will be related to Albion since it was selected.) 5. Unfold the Calibration section of the Properties panel by clicking on the + sign. 6. Click on the \[Auto Create Cameras] button. An Information Box will open and the display the IDs of the cameras that are connected to your system. If a camera seems to be missing, there might be a connection or network issue. 7. Close the Information Box by clicking on the \[OK] button. Entries were created for the cameras in the Scene Primitives list. ### 1.2.5 Create the Ground Volume Camera and projector calibration is based on correspondences established between the real world devices and their virtual representation in the 3D Scene module. The first step in establishing these correspondences is the creation of a Ground Volume reference. A Ground Volume is a virtual 3D object that you will match to a physical object through the use of Copernics. Warning: There is many approaches to the creation of Ground Volume. Depending on the context where you plan to achieve an automatic calibration and tracking, some type of 3D objects might perform better than others. The technique involving a plane described in this step-by-step has been chosen for its simplicity. In contexts where projection surfaces and performers move in a tri-dimensional space, it is preferable to use a tri-dimensional shape to act as a Ground Volume. The points making up the shape should be well distributed along the space where the surfaces and performers will move. Instead of using a built-in Primitive (plane, cube, etc.) that you modify when creating the Ground Volume, you should use a total station to create a precise points cloud that will be imported in PHOTON. Doing otherwise (measuring positions without optical precision equipment and applying modifications manually to built-in primitives) will lead to errors that will compromise the calibration. 1. Install a physical rectangular surface on the stage fitted with four Copernics, each resting at its corner (the top of a road case or table could work). Make sure the Copernics are powered. 2. Measure the rectangular surface (length and width) in centimeters. If the surface is elevated (resting on a small table rather than the floor, for example), measure its height. 3. Add a virtual plane in the 3D Scene by selecting {Primitive > Default objects > Plane}. 4. \[Double-click] on plane’s entry in the Scene Primitives list to open a text field. Rename the plane “Ground Volume”. 5. Press \[T] or select {Options Panels > Transformations} to open the Transformations panel. 6. Use the R.x slider to rotate the plane so it matches the orientation of the physical surface. The rotation is expressed in degrees. \[Double-click] on the slider to open a field where you will enter 90. 7. Use the S.x and S.y sliders to modify the virtual Ground Volume so its dimensions’ match with the physical one. Even if the Scale sliders are not dimension sliders (they act as scaling coefficients applied to the object’s original size); the easiest way to set new values for the virtual plane is to apply directly in the sliders the metric measurements made earlier (100 centimeter = 1.0) \[Double-click] on the sliders to open fields where you will enter the metric values. ### 1.2.6 Identify the Copernics Each Copernic has a programmable ID number. Before continuing the automatic calibration process the next steps, you should know the ID numbers of the Copernics attached to the physical Ground Volume. Follow these steps if you need to discover their IDs: 1. Connect the Copernics to a USB port on the Controller server. 2. Open the I/O Manager module by pressing \[Alt+I] or by selecting {System >I/O Manager} from PHOTON’s main menu. 3. Click on the \[Copernics] tab. 4. Click on the refresh button to populate the Available Copernics list. You should now be able to see their IDs. ### 1.2.7 Map the Ground Volume Now that the planes (virtual and physical) have matching orientation and dimensions, you will have to link the two structures by using the four Copernics located on the corners of the physical one. 1. In the 3D Scene module, switch to Operation mode by pressing 4 or by clicking on the \[Operation] button. Once it is selected, the monitor screen will turn blue. 2. Click on the gear button to open the Options panel. 3. Pay attention to the Rigid Points section of the Options panel. The Rigid Points dropdown menu will allow you to select pre-declared Rigid Points and assign them ID numbers. This is how the correspondence will be created between the Copernics and the virtual Ground Volume. 4. \[Double-click] on a corner of the virtual Ground Volume in the 3D Scene preview. The corner is now listed as a Rigid Point and is accessible as an option in the Rigid Points dropdown menu. 5. Select the Rigid Point from the Dropdown menu (it should be listed as Rigid Point #0). 6. Double-click on the ID text field located below the menu to change the current -1.00 value for the Copernic ID number. 7. Repeat steps 4 to 6 with the remaining corners. 8. Select the Albion entry from the Scene Primitives list by clicking on it. 9. Press \[P] or select {Options Panels > Properties} to open the Properties panel. 10. Unfold the Calibration section of the Properties panel by clicking on the + sign. 11. Select the virtual Ground Volume in the Ground Volume Reference dropdown menu. ### 1.2.8 Calibrate the Cameras The Ground Volume will be used by ALBION to perform calibration for the cameras. The physical Ground Volume should be located on a stage section where it will be seen by all cameras. 1. Install additional calibration lines featuring Copernics in order add references for cameras and projectors during the subsequent calibration operations. Calibration lines should be well distributed on the stage space to provide enough data for PHOTON to be able reconstruct its volume. 2. Click on the \[Calibrate Cameras] button in the Properties menu to launch the automatic calibration process for cameras. 3. A calibration report will be generated. **Error per camera should be under 0.5.** You will have to recalibrate if the error goes above this number. Reconsider the Copernics positioning and quantity or if the error goes above this target. The cameras’ orientation, focus or state (on/off) might be the source of the problem. Occlusions might also cause problems. Make sure there is no physical problems as those described above before restarting calibration. {% hint style="warning" %} Some cameras might be affected by lens distortion. To solve this matter follow these steps: {% endhint %} 1. Select all cameras by clicking on their entry in the Scene Primitives list. 2. Press \[P] or select {Options Panels > Properties} to open the Properties panel. 3. Unlock the Lens Distortion section of the Properties panel by clicking on the + sign. 4. Click on the Lens Distortion button. 5. Click on the \[Calibrate Cameras] button again. ### 1.2.9 Pair Cameras and Projectors There are 2 types of cameras in an automatic calibration set-up. Some cameras are physically paired with projectors (they are attached to them and are aligned with their lens) while others are pointed at the stage area without being associated with a projector. Before attempting the projector calibration, you need to specify explicitly to PHOTON which camera is tied to which projectors. Follow these steps to establish the pairs in the software: 1. Select the 3D Scene Operation mode by clicking on the \[Operation] button. (This is done to change the color of the UI to facilitate camera identification.) 2. Select a camera by clicking on its entry in the Scene Primitives list. Notice that the 3D Scene representation (square pyramids) of the camera also gets highlighted. Since the cameras’ position and orientation have been established during the previous calibration step, you will be able to understand which camera in the list corresponds to which physical camera. 3. Double-click on the selected camera’s entry in the list to open a text field where you will enter a new camera name that will reflect its physical position (leftStageProjCam\_01, for example). 4. Repeat steps 2 and 3 with each camera of the Scene Primitives list that is physically paired with a projector. 5. Reorder the cameras in the Scene Primitives list by click-dragging their entry to facilitate identification and subsequent manipulations. 6. Switch the 3D Scene to the Calibration mode by clicking on the \[Calibration] button. The UI will turn red and the Calibration tools panel will open. 7. Select a projector by clicking on its entry in Scene Primitives list. Click on the target icon in the Calibration Tools panel. The projector will emit red light; this will help you identify the projector correctly. 8. Double-click on the selected projector’s entry in the list to open a text field where you will enter a new projector name that will reflect its physical position (leftStageProj\_01, for example). The name should refer to its paired camera to facilitate identification. 9. Repeat steps 7 and 8 with each projector of the Scene Primitives. 10. Reorder the projectors in the Scene Primitives list by click-dragging their entry to facilitate identification and subsequent manipulations. 11. Once you have identified projector-camera pairs, you will specify parenting for each of them (camera = parent, projector = child). Ctrl-click-drag the projectors entries onto their matched cameras entries in the Scene Primitives list. ### 1.2.10 Compute Reconstruction The reconstruction process will store the Copernics position data in an array so it can be retrieved later on. All of the Copernics on the stage should be seen in the 3D Scene representation before launching this process. Be wary of occlusions, reflections and daylight as they will create calibration errors. 1. Make sure the Calibration mode is selected (if not, click on the \[Calibration] button.) 2. Select Albion from the Scene Primitives list by clicking on its entry. 3. Press \[P] or select {Options Panels > Properties} to open the Properties panel. 4. Open the Tracking - Reconstruction section of the Properties panel by clicking on the + sign. 5. Click on the \[Compute Reconstruction] button. An Information Box will open showing how many Copernics were used in the reconstruction process. 6. Click on the \[OK] button to close the Information Box. ### .2.11 Calibrate Projectors The projector calibration process relies on the projection of light patterns which are picked up by the calibrated cameras. Make sure the projectors are physically aligned with their paired cameras and are throwing light that can be seen by the cameras. **Initial calibration** The first attempt at calibration is done without any modifications to vision-related parameters. It is expected to be imperfect but offer a base on which to work. 1. Shift-click on the projectors’ entries in the Calibration Tools panel to multi-select them. 2. Click on the SLAC button to open the SLAC Options panel. (SLAC stands for Structured Light Automatic Calibration.) 3. Press the play button to calibrate the currently selected projectors. 4. Look at the camera view to check if the process is going well. Calibrated projectors will display a calibration error indicator. The displayed number should be below 0.5. Calibrated projectors that have an error over 0.5 have to be calibrated again. **Refined calibration** The second attempt at calibration should aim at improving the calibration of projectors who have a calibration error over 0.5. It is possible to select individual projectors and leave those that are well-calibrated untouched. 1. Open the SLAC Options panel by pressing on the SLAC button. 2. Open the Options panel section by clicking on the + sign. 3. Click on the \[Show focus Grid] toggle to enable the focus grid. 4. Make sure the 3 dropdown menus located below the Focus Grid slider show the following selected options: {Sliding Patterns}, {Copernics}, {Rigid Points}. 5. Select the camera linked to the projector you wish to recalibrate by clicking on its entry in the Calibration Tools panel list. 6. Select {Apply Projector Settings} from the SLAC Settings dropdown menu. This option will display the camera’s point of view in the Calibration Tools preview while you modify visual parameters. 7. You should notice some reflective points in the camera’s point of view. The following manipulations are aimed at creating conditions in which the reflective points stand out from the background. You should also make sure there is enough reflective points in the camera’s point of view. Having less than 7 visible points will seriously hinder the calibration process. 8. Identify the projector you want to re-calibrate. Click on the eye icon located to the right of the other projectors’ name to blank them. 9. The two main parameters you will have to modify are:\ \ **Light intensity**, located in the SLAC Options panel: this parameter will control the global amount of light emitted by the projector during the calibration phase.\ \ **Camera exposure**, located in the camera view (while {Apply Projector Settings} is selected): this parameter will allow you to control the exposure of the camera paired to the projector being calibrated.
10. Once you think the visual context for a projector re-calibration is optimal (reflective points are standing out of the background), right-click on the projector’s entry on the Calibration Tools list to open a contextual menu and select {Auto-Calibrate (Full)}. Adjust the parameters and recalibrate until you reach an error below 0.5 11. Repeat steps 8,9 and 10 with each of the projectors that need to be calibrated again. Be careful, if you select “Apply Projector Settings” to multiple cameras at once without launching projector re-calibration, you will saturate your network with video feeds and lose connectivity. 12. In order to validate if your final calibration is acceptable, click on the gear icon to open the Options panel. Click to enable the \[Enable] toggle and the \[Display Cross] toggle. You will see cross markers projected on the reflective markers. The centers of the crosses should land on the reflective points. If you have difficulty seeing the crosses use the Line Width slider to enlarge them. 13. If you experience problems with the projectors calibration, you might be in a situation where the paired cameras are not seeing enough reflective points. You can move the calibration lines around so you give additional references to the system. Remember however that if you move the calibration lines, you need to click on Compute Reconstruction in the Albion properties before attempting any new camera and projector calibration. ### 1.2.12 Integrate Screens Once cameras and projectors are calibrated, you will integrate the Screens used on your Stage. This will be done by adding 3D models that correspond to your real-life projection surfaces. **Adding Screens** Either your Screens have been previously modeled as .OBJ 3D objects or they are simple geometrical shapes such as planes and can be created directly within PHOTON. **.OBJ models** 1. Open the File Manager module by pressing \[Alt+F] of by selecting {Show > File Manager} from PHOTON’s main menu. 2. Click on the import files button located in the left-corner of the File Manager window. A Windows Explorer window will open allowing you to locate and import the .OBJ files that correspond to the screen you want to integrate. Select the files and click on the \[Open] button. 3. Click on the refresh button in the File Manager window and select the \[3D Object] entry amongst the Playlist filters. You should see the .OBJ files. 4. Close the File Manager Module and go back to thee 3D Scene module. 5. Select {Primitive > OBJ> yourscreenmodel.obj} from the 3D Scene main menu. The Screen will appear in the Scene Primitives list. You can now make this Screen visible to all or some of your projectors. **Built-in primitives (probably a plane)** 1. Select {Primitive > Default Objects > Plane} from the 3D Scene main menu. The plane will appear in the Scene Primitives list. 2. \[Double-click] on plane’s entry in the Scene Primitives list to open a text field. Rename the plane so you can identify it as a Screen. 3. Open the Transformations panel by selecting {Options Panels > Transformations}. 4. Modify the Primitive’s Scale sliders so their parameters reflect the Screen’s dimensions. **Making Screens visible for Projectors** Screens have to be made visible for projectors in order to display content. By specifying which projector’s sees which Screen, PHOTON limits the number of rendered video context it needs to process. 1. Enable the 3D Scene’s Calibration mode by clicking on the \[Calibration] toggle. 2. Select the first Projector you want to link to a Screen from the Calibration Tools list by clicking on its entry. 3. Click on the lock toggle to avoid disrupting the projector’s calibration. 4. Drag and drop the Screen you want to be seen from the Scene Primitives list to the Calibration Tools preview. The Screen has now been made visible for that specific projector. Repeat this with all the Screens this projector should see. 5. Repeat steps 2,3 and 4 with all the projectors in the Calibration Tools list. ## 1.3 Real Time Alignment This feature allows the PHOTON to maintain calibration even if projectors are moved around. Once the PHOTON achieved an automatic calibration you can follow the steps to enable real time alignment. Keep in mind that a moving projector will keep its calibration only if its paired camera sees enough Copernics in its field of view. 1. Select the camera paired with the mobile video projector in the Scene Primitives list by clicking on its entry. 2. Press A or select {Options Panels > Automation] to open the Automation panel. 3. Open the RT Calib panel section by clicking on the + sign. 4. Select {Albion} in the Reference Object dropdown menu. 5. Click on the \[Enable] button. 6. Select the same camera in the Calibration Tools list. You should see a “pos error: xx” value that keeps flickering. 7. Click on the lock button so you won’t be able to modify the calibration by clicking in the Calibration Tools preview window. ## 1.4 Screen Tracking Before following the steps that will allow you to track a projection surface, you will have to fit the real world Screen with Copernics so the cameras linked to PHOTON will be able to see it. The following instructions have been designed for a plane fitted with 4 Copernics at its corners. 1. Select Screens you have integrated in the 3D Scene (and fitted with Copernics) from the Scene Primitives list by clicking on its entry. 2. Switch the 3D Scene to the Operation mode by clicking on the \[Operation] toggle. 3. Click on the gear button to open the Options panel. 4. Double-click] on a corner of the Screen in the 3D Scene preview. The corner is now listed as a Rigid Point and is accessible as an option in the Rigid Points dropdown menu. 5. Select the Rigid Point from the Dropdown menu (it should be listed as Rigid Point #0). 6. Double-click on the ID text field located below the menu to change the current -1.00 value for the Copernic ID number. 7. Repeat steps X to X with the remaining corners. 8. Select the Screen in the Scene Primitives list by clicking on its entry. 9. Press A to open the Automation Window. 10. Click on the \[Active] toggle located below Albion Options. # Primitives Tracking {% embed url="" %} Primitives Tracking {% endembed %} ## Description ALBION can track the movement of screens, props or costumes and use the data to create interactive real-time visual effects. This works by assigning optical markers in the real world to vertices on objects in the 3D Scene. In this step-by-step, we will use Nulls and the FX Graph to simulate optical markers in ALBION. ## Prerequisites * An ALBION enabled dongle. ## Actions 1. Open Settings. Select {System > Settings} or press \[Alt+S]. 2. Select {Controller} from the System Mode dropdown menu. 3. Select the Control tab 4. Select the local server from all Control dropdown menus. 5. Open the 3D Scene module. Select {System > 3D Scene} or press \[Alt+C]. 6. Add the Albion object to the 3D Scene. Select {Primitive > Automation > Albion}. 7. Add 4 Null objects. Select {Primitive > Default Objects > Null} to add the first Object and press \[Ctrl+D] 3 times to duplicate it. 8. Select the first Null object and open the Properties Option panel. Select {Option Panels > Properties} or press \[P]. 9. Use the Tracker ID slider to assign an ID (from 1000 to 1003) to each Null object. 10. Place the Null objects at the 4 corners of a 1m square in XY (0,0,0)(0,1,0)(1,1,0)(1,0,0). 11. Create a fifth Null object and rename it “Parent”. 12. Parent the first four Null objects to the fifth. Press \[Control] while drag-and-dropping the Null objects onto the Parent. 13. Create a Plane object. Select {Primitive > Default Objects > Plane}. 14. Switch to the Operation mode. Press \[3] (with the 3D Scene in focus) or activate the \[Operation] toggle. 15. Double-click on all 4 corners of the Plane to declare Rigid points. 16. Open the Settings panel by clicking on the \[Gear] 17. Assign IDs to the Rigid points. First select a Rigid point from the dropdown menu then set the corresponding Null object ID. Repeat with all Rigid points. 18. Select the Plane object and open the Automation Option Panel. Select {Option Panels > Automation} or press \[A]. 19. Unfold the Albion Options and enable the \[Active] toggle. 20. Open the FX Graph module. Select {Show > FX Graph} or press \[Alt+X]. 21. Create a new Graph and activate the \[Enable Preview] toggle. 22. Under 3D add a /Primitive (Ref)/ node. 23. Assign the Parent Null object to the node from the Primitives dropdown menu. 24. Expose the node’s Translation parameters. Select {Exposed Parameters > Translation > Translation X(Y, Z)}. 25. Add a /Sin\~/ node and set its period to 10. 26. Connect it to the /Primitive (Ref)/ node to move the Plane. 27. The Plane primitive is now following the virtual tracker’s position. # Create a 3D Animation Curve {% embed url="" %} 3D Animation Curve {% endembed %} ## Actions {% hint style="info" %} **OPEN THE 3D SCENE MODULE** Select {System > 3D Scene} or press \[Alt+C]. {% endhint %} {% hint style="info" %} **OPEN THE FX GRAPH MODULE** Select {Show > FX Graph} or press \[Alt+X]. {% endhint %} 1. Open the 3D Scene module. 2. Add a Curve object. Select {Primitive > Automation > Curve}. 3. Select the Curve object and open the Properties Option Panel. Select {Option Panels > Properties} or press \[P]. 4. Click on the \[Add Point] button to create the first Control Point of the Curve. 5. Select the first point (*control point0*) and press \[V] to activate the Translate Manipulator. 6. Position the first point with a click-drag. 7. Select the Curve object again and Click on the \[Add Point] button to add a second Control Point. The Curve will now be displayed. 8. To ease in or out the Curve: select the ease in or out parameters located under the Control Points, press \[V], and adjust them with a click-drag. 9. To add more Control Points: * Select the Curve object and open its Properties panel. * Adjust the t slider to navigate the Curve in time. * Click on the \[Add Point] button. 10. Add a Camera in the 3D Scene. Select {Primitive > Input > Camera}. 11. Open the FX Graph module. 12. Create a new Graph. Click on the \[+] button. 13. Activate the \[Enable Preview] toggle. 14. Click on the \[Add Node] button and click-drag the /Curve 3D (anim)/ node (located under 3D) in the Graph window. 15. Assign the Curve object to the node in the Primitives dropdown menu. 16. Add a /Primitive (Ref)/ node (located under 3D) in the Graph window. 17. Assign the Camera object to the node in the Primitives dropdown menu. 18. Expose the node’s Translation parameters. Right-click on the node and select {Exposed Parameters>Translation>Translation X(Y, Z)}. 19. Expose the node’s Rotation parameters. Right-click on the node and select {Exposed Parameters>Rotation>Rotation X(Y, Z)}. 20. Link the outputs of the /Curve 3D (anim\_)\_/ node to their corresponding inputs (Numeric Translation and Rotation) on the /Primitive (Ref)/ node. 21. Click-drag a /Curve\~/ node (located under Signal Generator) in the Graph window. 22. Connect the output to the node to the input of the /Curve 3D (anim)/ node. 23. Click on the /Curve\~/ node and select {Curve} from the Preview Mode dropdown menu. 24. Adjust the Curve manually in the Preview. 25. Adjust the Period (s) slider. 26. Navigate back to the 3D Scene. Adjust the orientation of the Camera by selecting any option from the Direction Axe dropdown menu located in the Curve object Properties. ## Related documentation {% content-ref url="/pages/0yfX9isszVIx6goesAxH" %} [3D Video Rendering](/step-by-step-tutorials/rendering/3d-video-rendering) {% endcontent-ref %} # File Managment # File Manager: Playlists {% embed url="" %} File Manger: Playlists {% endembed %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} ## 1. Create and Name a Playlist 1. Click on the \[+ icon] button to create a Playlist. 2. To rename the Playlist, do one of the following actions: * Select the Playlist and press \[F2]; * Double-click the Playlist; * Right-click the Playlist and select {Rename Playlist}. ## 2. Import a File into a Playlist 1. Select the Playlist where the file will be imported. 2. Select \[Import] button or press \[Ctrl+shift+I]. Use the file dialog window to select one or multiple files. 3. Click on the \[Open] button. 4. The file(s) will be imported and converted as usual and be added to the selected playlist. ## 3. Add or Remove a File from a Playlist To add a file to a Playlist: 1. Click-drag a file from the Media File List onto a Playlist. To remove a file from a playlist: 1. Select the file from the file list. 2. Right-click the file and select {Remove From Playlist}. ## 4. Export a Playlist as a .CVS File 1. Right-click on the Playlist and select {Export CSV} from the contextual menu. 2. Write the .CSV file name in the text field and click on the \[Export] button. ## 5. Delete a Playlist 1. Select the Playlist from the list 2. Right-click on the Playlist and select {Delete playlist}.\ (This action delete only the playlist, not the files it referenced.) ## Related Documentation {% embed url="" %} User Guide / 3. Importing Content / 5. Playlists {% endembed %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # File Manger: Manage Files {% embed url="" %} File Manager: Manage Files {% endembed %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} ## 1. Delete a File 1. Select the file(s) to be deleted. 2. Right-click on the file and select {Delete} or press \[delete]. ## 2. Find a File in the OS Directory * Right-click on a file and select {Show In Folder}. ## 3. Copy File Name or Path * Right-click on a file and select {Copy File Name} or {Copy File Path} from the contextual menu. ## **4. Manage File Distribution over the Network** #### **Net Column** The Net column displays information about file distribution over the network. A green checkmark will be displayed if the file exists on every computer in the network group. If a file is missing from one or many server in the network group, a red X will be displayed. Hold the mouse over the red X to see where the file is present or missing on the network. #### **Sync Selected** If a file is missing from one or many computers on the network group, use the Sync Selected\ function to distribute it over the network. * Right-click on the file and select {Sync Selected} from the contextual menu. #### **Edit Task Group** A user may choose to distribute or delete files in a selection of servers within the network group. Do the following to edit the Task Group: 1. Click the \[insert gearbox icon] to open the File Manager Settings. 2. Activate or deactivate the Task Group Selection toggles to include or exclude servers. ## Related Documentation {% embed url="" %} User Guide / 3. Importing Content / 1. File Manager {% endembed %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # File Manager: Display Files {% embed url="" %} File Manager: Display Files {% endembed %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} ## 1. Details or Thumbnails Views #### Select Details View * Click on the \[Show Detail View] button located in the top left corner of the File Manager window to view the Files List as a detailed list. #### **Add Attributes to the List** * Right-click on the top row of the Media File List to open a contextual menu and select the attribute you want to add. #### Sort Detailed List 1. Move the mouse cursor over the top row of the Media Files List table that shows the data categories. Arrows pointing upward and downward should appear near each data category. 2. Click on the upward or downward arrow to sort files. #### Select Thumbnails View * Click on the \[Show Thumbnail View] button located in the top left corner of the File Manager window to view the Files List as thumbnails. #### Sort Thumbnails * Select an option from the Sort and the Direction dropdown menus. #### Adjust Thumbnails Size * Adjust the Thumb Size slider to change Thumbnails size in pixels. ## 2. Group Original and Converted Files The Group checkbox allows you to create a parent-child group containing the original media file and the .VCI file. ## **3. Hide Originals** The Hide Originals checkbox allows you to mask original media files. Only VCI files will be shown. ## 4. Filter Displayed File Types The top-left section of the File Manager window contains a list of toggles that represent different media types. The toggles can be used to select a specific media type and filter out the unrelated files that were previously imported or converted. * **All Media:** All files. * **All Playback Media:** All media files. * **Image:** All still images files. * **Video:** All video files. * **Audio:** All audio files. * **3D Object:** All 3D object files. * **Plugin:** All Notch Blocks, Lookup Table files or custom effects. * **Used**: All files used on the Timeline (including all Sequences), the 3D Scene or the FX Graph. * **Unused:** All unused files on the Timeline (including all Sequences), the 3D Scene or the FX Graph. * **Not Converted:** All media files that were not converted in the File Manager. * **Recently Added:** All files imported or converted in the File Manager in the last 24 hours. ## 5. Search for a File * To find a specific file in the Media Files List: type its name into the search field. * To find a specific file extension in the Media Files List: type the extension such as .png or .mov, into the search field. ## 6. Preview a File Do the following to preview a file in the Media Files List: 1. Click on the \[Show Preview] button. 2. Click on the file’s entry in the Media Files List. 3. Click on the \[Play] button. 4. You can select which portion of the file you will preview by double-clicking on the time bar to manually enter a time value or use the slider to scroll in the media. ## Related Documentation {% embed url="" %} User Guide / 3. Importing Content / 4. Files Management and Display {% endembed %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # File Manager: Import and Convert {% embed url="" %} File Manager: Import and Convert {% endembed %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} ## 1. Import Files 1. Click on the \[Import] button located in the top left corner of the File Manager window. 2. A Windows dialog box will open, allowing you to search for and select the file you want to import into your PHOTON Project. 3. To filter out other items — unneeded video, image or audio files — select a file type from the dropdown menu. 4. Use the folder tree structure to locate your files. You can select and import multiple files at the same time. Select the files you want to import by clicking on them. 5. Once all of your files are selected, click on the \[Open] button. ## 2. Import Folder 1. Click on the \[Import] button located in the top left corner of the File Manager window. 2. Select a root folder and press the \[Import Folder] button. PHOTON will automatically scan all of the child folders selected and import all relevant files contained in this folder structure. ## 3. Convert Folder By default, imported files will be automatically converted. Do the following to manually convert files after import: 1. Click on the \[Settings] button to open the File Manager Settings window. 2. Uncheck the {Auto Convert After Import} box located in the Conversion Settings section. 3. Make sure the media file you are about to convert was properly imported into all of the servers in your Server Group. Look at the Media Files List. The first column to the left should be titled “Net” (if the column is missing from the table, right-click in the header to add “Net” with the help of a contextual menu). A green check mark should precede all of the original media files that you want to convert. 4. Select the original files you want to convert by clicking on their name in the Media Files List and then click on the \[Convert] button. You can also select files that you want to convert by right-clicking on entries in the Media Files List to open a contextual menu and then selecting {Convert}. ## 4. Task List & Priority Management The Task List displays all of the files waiting to be imported and converted. Do the following prioritize the import of files in the list: * Right-click on a file’s name and select {Move On Top}. This action will change the order of priority for importing files. ## 5. Pause, Resume or Cancel Import Imports and conversions can be: * Paused by clicking on the \[Pause] button. * Resumed by clicking on the \[Resume] button. * Cancelled by clicking the \[Cancel] button. ## 6. Conversion Settings Click on the \[Settings] button to open the File Manager Settings window and access the Conversion Settings. * **Auto Convert After Import:** If enabled, media conversion will start automatically when media is imported. * **Use Legacy Converter:** If enabled, forces the use of the legacy (32 bits) file converter. * **Delete Original Media:** If enabled, original media files such as .mov or .png will be deleted once they are converted to VCI. * **Conversion Codec:** * VCI: VYV’s video file format that does not feature any compression. * VCI Compressed: VYV’s video file format compressed using H.264 or H.265. * **Frame-Rate (Override):** Overrides the original media frame rate during conversion. * **GPU Conversion:** Use GPU for media file conversion. * **HDR Conversion:** Use High Dynamic Range for media file conversion. * **Conversion Size Limits (MegaPixels):** * Display Server: This slider will set the megapixel threshold for Display Servers and Display Master Servers. * Controller: This slider will set the megapixel threshold for Controller Servers. * **Conversion Format:** Use the Color Encoding Format dropdown menu to select the chroma subsampling encoding system that will be used during conversion. * YUV 4:2:0: Encoding system where the chroma channels are sampled at half the rate of luma, occupy half the horizontal resolution and are interlaced. * YA16 – (4:2:0 + alpha): Same as YUV 4:2:0 but includes a channel dedicated to alpha content. This encoding system is the only one that allows our system to split media content in real time. * YUV 4:2:2: Encoding system where the chroma channels are sampled at half the rate of luma. * RGB 4:4:4: Fully uncompressed. * Auto: Automatically choose between YUV 4:2:0 and YA16 depending on the presence of an alpha channel. ## Related Documentation {% embed url="" %} User Guide / 3. Importing Content / 2. Imports {% endembed %} {% embed url="" %} User Guide / 3. Importing Content / 3. Conversions {% endembed %} {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # File Manager: Advanced Topics {% embed url="" %} File Manager: Advanced Topics {% endembed %} {% hint style="info" %} **OPEN THE FILE MANAGER MODULE** Select {Show > File Manager} or press \[Alt+F]. {% endhint %} ## 1. Import and Convert an HDR File 1. Click the \[gearbox icon] to open the File Manager Settings. 2. Activate the \[GPU Conversion] toggle. 3. Click on the \[Import] button located in the top left corner of the File Manager window. 4. A dialog box will pop up, allowing you to search for and select the HDR file you want to import into your PHOTON Project. 5. Once all of your files are selected, click on the \[Open] button. ## 2. Import and Convert a File Sequence 1. Click the \[gearbox icon] to open the File Manager Settings. 2. Make sure the Enable Image Sequence box is checked. 3. Select a frame rate from the Frame-Rate (Override) dropdown menu. 4. In the File Manager module, select \[insert import icon] or press \[Ctrl+shift+I]. 5. Use the Windows file dialog to select all the files in the Sequence. 6. Click on the \[Open] button. 7. In the Import Image Sequence dialog box, select \[as sequence]. {% hint style="warning" %} A File Sequence is recognized by PHOTON if the files names end with explicit sequential numbering. {% endhint %} ## 3. Splitting When dealing with very large media files and screens, a user may have to split the content in order to be able to play it back and apply crossfades between files. The splitting function will split media files during conversion, and only select the portions of the media files needed by the servers for playback. **Splitting Prerequisites**\ To split and distribute the portions of the media files needed in each server, the following elements have to be set up in the project: * The Screen is instantiated in the 3D Scene; * The outputs are set correctly on each Server; * The projectors assigned to the server outputs are calibrated with the Screen; * The Screen’s \[Splitting] toggle is activated through the {Properties \> Blending Options} panel in the 3D Scene module. **Apply Splitting** 1. To use the Splitting function while importing content, open the File Manager Settings. Click the \[gearbox icon]. 2. Select the Screen in the Splitting dropdown menu. A Screen will only appear in this menu if its \[Splitting] toggle is activated in the 3D Scene module through the {Properties & Blending Options} panel. 3. In the File Manager module, select \[insert import icon] or press \[Ctrl+Shift+I]. Use the Windows file dialog to select the file(s). 4. Click on the \[Open] button. {% hint style="warning" %} Every file imported into the File Manager will be split if a Screen is selected in the Splitting dropdown menu. Make sure to select {No Splitting} as soon as you are done importing files you wish to split. {% endhint %} ## 4. Use the Watch Folder A Watch Folder is a directory that\'s specified to be polled periodically by PHOTON for new content. The media files in the watch folder will be automatically imported and converted. 1. Open the File Manager Settings. Click the \[gearbox icon]. 2. Under Watch Folder Directory, select the \[folder icon]. 3. Use the dialog window to select the directory. 4. Click \[select folder]. 5. Under “Check folder at time interval (min)”, use the text box to set the time interval (in minutes) between polls. 6. Use the Conflict options dropdown menu to select one of these options: * {Ask}: Open a dialog box for each file conflict and manually choose to overwrite or keep existing files. * {Overwrite}: For each file conflict, overwrite the existing file. * {Keep existing file}: For each file conflict, keep the existing file. 7. Use the Media Playlist Selected dropdown menu to import the files from the Watch Folder to a specific playlist. 8. Activate the \[Enable Watch Folder] toggle. 9. To pause the Watch Folder behavior, disable the \[Enable Watch Folder] toggle in the File Manager Settings or click the Watch Folder Status toggle \[insert pause icon] in the File Manager module. ## Related Documentation {% content-ref url="/pages/YU4QsJQiML69Cj2gNt8G" %} [File Manager](/modules/file-manager) {% endcontent-ref %} # Audio Multichannel Export {% file src="/files/-Lpj2vyblQrchfXx1nJf" %} Download step-by-step {% endfile %} {% embed url="" %} Audio Multichannel Export {% endembed %} This step-by-step guide will help you configure Adobe Premiere to export a multichannel audio file and assign audio channels in PHOTON. Adobe Premiere is used as an example. Most softwares used in digital audio workstations feature similar file export capacities. ## Adobe Premiere Configuration PHOTON will strictly read multichannel audio files wrapped as a .mov file with an embedded still image. 1. Load the audio files you want to embed and a still image or video In Adobe Premiere. 2. Create a new Sequence and go to the \[Tracks] tab. Set “1” video track. 3. Set Master as “multichannel” and set the correct number of channels (16 tracks will be used in this example). 4. Add all 16 tracks using the \[+] button. 5. Set Pan/Balance at -100 one track out of two and keep track type as “standard”. 6. Set output assignments for each tracks. (Ex : Track 1 goes on Master Track Channel 1-2, Track 2 on 1-2,Track 3 on 3-4, ..., Track 14 on 13-14,...). (see img 1) ![img 1](/files/-Lg-0E6TR_PaB4lERKEd) 7. In Settings, set the correct preset for standard video format (ex: 720p\@29.97). 8. Add a still image or video to avoid a blank screen. 9. Add audio files to the different tracks in Adobe Premiere. (Don’t worry about mono or stereo files, all will be assigned to the different channels preset correctly). 10. Set in and out points and export the new sequence. (see img 2) ![img 2](/files/-Lg-0E6UDZi34ojYv5X1) 11. In video settings, use a quicktime format (h.264, animation, prores, …) 12. In audio settings, use 16 channels as output channels and enable Discrete Channel Layout. ![img 3](/files/-Lg-0E6VRMvApufvPIWE) ## PHOTON Import and Audio Configuration 1. Import the audio file into PHOTON using the File Manager module. 2. Check in the I/O manager / Audio Device that the correct audio interface is selected and make sure the Output Master Volume is not set at “0”. (see img 1) ![img 1](/files/-Lg-0E6W4HiERtMs57Tc) 3. Create a new Media Clip on the Timeline and use the audio file as its source. (see img 2) ![img 2](/files/-Lg-0E6X5TFgQ0_dMAoY) 4. Open Audio config by selecting the Media Clip and click on the \[audio config] button. 5. You can auto assign channels or deselect the option to manually assign channels to specific audio outputs. (see img 3) ![img 3](/files/-Lg-0E6YKMd1yYtZp3jq) 6. Adjust the Media Clip volume by selecting Media Clip on the Timeline. 7. If you need to adjust volume on specific channels, you can open the Audio Device tab in I/O Manager module. # Export Multichannel Audio from DaVinci Resolve This document shows how to export a video or audio file containing multichannel audio for use with VYV products. ## Download PDF guide {% file src="/files/P2tcst6K27w4nTILQlFS" %} ## Step 1: Create your timeline in Resolve {% hint style="warning" %} Be sure to set your timeline frame and resolution to match your project {% endhint %}

Create your timeline in resolve

## Step 2: Add and edit audio tracks #### 2.1. Add audio tracks to your project, make sure to select type a mono. {% hint style="warning" %} Add as many tracks as you need. {% endhint %}

2.1. Add audio tracks to your project, make sure to select type as mono

#### 2.2. Add audio files to your tracks {% hint style="warning" %} If you need to convert a stereo or existing multi channel track to mono you can do this using the clip attributes option. {% endhint %}

2.2. Add audio files to your tracks

#### 2.3. Set clip attributes options to be mono. {% hint style="warning" %} In the clip attributes pane, change the format to mono and select the desired channel. {% endhint %}

2.3. Set clip attributes options to be mono.

#### 2.4. Edit and adjust audio as required, you may also wish to add a movie, picture or text to you file. {% hint style="warning" %} If you wish to ‘burn in’ timecode to your file you can do so by selecting data burn in form the workspace menu. Selecting REC timecode will use the value set for your timeline. {% endhint %}

2.4. Edit and adjust audio as required, you may also wish to add a movie, picture or text to you file.

## Step 3: Link audio in Fairlight #### 3.1. Switch to the Fairlight Tab. #### 3.2. From the Fairlight menu select link groups. {% hint style="warning" %} Fairlight will use surround terminology such as LCR (left center right) or 5.1 as opposed to discrete names. {% endhint %}

3.2. From the Fairlight menu select link groups.

#### 3.3. Select tracks and link them. {% hint style="warning" %} Fairlight will use surround terminology such as LCR (left center right) or 5.1 as opposed to discrete names. {% endhint %}

3.4. Select tracks and link them.

## Step 4: Export the File #### 4.1. Switch to the deliver tab. #### 4.2. Select a Quicktime .mov for video format, .WAV for audio only #### 4.3. Set the audio options. {% hint style="warning" %} Check under the audio options tab, output track should be set to ‘Timeline Track’ and should have the interleaved number of channels shown next to it. {% endhint %}

4.3. Set the audio options.

#### 4.4. Export your file using the "Add to render" button. # I/O # Midi # Map a MIDI Slider in Photon ## Gear * 1 PHOTON servers connected on a dedicated network. * A MIDI Controller (the AKAI MPD24 is used in this example). ## 1. Add a MIDI Controller {% embed url="" %} I/O Manager: Add a MIDI Controller {% endembed %} {% hint style="info" %} **OPEN THE I/O MANAGER MODULE** Select {System > I/O Manager} or press \[Alt+I]. {% endhint %} 1. Select the MIDI tab. 2. Select an empty slot from the Active Devices list. 3. Select a device from the Available Devices list to assign it. 4. Enable the \[Show midi messages] button. 5. Validate the MIDI Controller assignation by watching the incoming MIDI messages. {% content-ref url="/pages/yxg4ci8XP7yebQ3L5JJz" %} [I/O Manager](/modules/i-o-manager) {% endcontent-ref %} ## 2. Bind a Physical Slider to PHOTON {% embed url="" %} Mapping Manager: Bind a Physical Slider to PHOTON {% endembed %} {% hint style="info" %} **OPEN THE OUTPUT CONTROL TOOL** Select {System > Tools > Output Control} or press \[Alt+O]. {% endhint %} {% hint style="info" %} **OPEN THE MAPPING MANAGER MODULE** Select {System > Mapping Manager} or press \[Alt+N]. {% endhint %} 1. Activate the \[Control Learning] toggle. (The UI will be tinted in red as long as Control Learning is enabled.) 2. Navigate back to the Output Control module and select the Master Contrast slider. 3. Assign the Master Contrast slider to the MIDI controller by moving one of its sliders. 4. Deactivate the \[Control Learning] toggle. 5. Validate the slider assignation by watching its the repercussion in the UI. {% content-ref url="/pages/JvMBz3GAmKaDCPckKqsG" %} [Mapping Manager](/modules/mapping-manager) {% endcontent-ref %} {% content-ref url="/pages/LI4hrOcjUDkZ8Au5w93B" %} [Output Control](/modules/output-control) {% endcontent-ref %} {% content-ref url="/pages/hlWa7Q1LurhNDzOv509h" %} [Network Monitor](/modules/network-monitor) {% endcontent-ref %} # Projector Control # Control Projectors with Cues ## Prerequisites * Video projectors (three Panasonic RZ670 are used in this example). * Make sure the video projectors feature continuous IP addresses (such as 192.168.1.101, 192.168.1.102, etc. * Note down the network port used to control the projectors (defined by the manufacturer). ## 1. Add Projectors (using the recursive method) {% embed url="" %} I/O Manager: Add Projectors (Using the Recursive Method) {% endembed %} {% hint style="info" %} **OPEN THE I/O MANAGER MODULE** Select {System > I/O Manager} or press \[Alt+I]. {% endhint %} 1. Select the Projector Devices tab. 2. Click on the \[+] button to add new projectors. 3. Select the projector’s Type from the dropdown menu. 4. Set the IP address and port of the first projector (which should feature the lowest IP\ address). 5. Set the quantity of projectors to be added in the Count field (the projectors IP addresses\ must follow one another). 6. Check for the projectors’ connection status. {% content-ref url="/pages/yxg4ci8XP7yebQ3L5JJz" %} [I/O Manager](/modules/i-o-manager) {% endcontent-ref %} ## 2. Controle Projectors Shutters with Cues {% embed url="" %} Cue Editor: Control Projector Shutters with Cues {% endembed %} {% hint style="info" %} **OPEN THE CUE EDITOR MODULE** Select {Show > Cue Editor} or press \[Alt+Q]. {% endhint %} {% hint style="info" %} **OPEN THE I/O MANAGER MODULE** Select {System > I/O Manager} or press \[Alt+I]. {% endhint %} 1. Select the Projector Devices tab. 2. Open the Cue Editor module. Select {Show > Cue Editor} or press \[Alt+Q]. 3. Create a new Cue. Click on the \[+] button. 4. Activate the \[Record] toggle. 5. Navigate back to the I/O Manager module. 6. Select a projector from the list. 7. Click on the Shutter \[Open] button. 8. Navigate back to the Cue Editor module. 9. Deactivate the \[Record] toggle to stop recording actions. 10. Repeat these steps for the Shutter \[Closed] button. 11. Click on the \[Go] button next to the Cue’s name to execute it. {% content-ref url="/pages/8B8KbLlWzsHZH16HYfmS" %} [Cue Editor](/modules/cue-editor) {% endcontent-ref %} {% content-ref url="/pages/yxg4ci8XP7yebQ3L5JJz" %} [I/O Manager](/modules/i-o-manager) {% endcontent-ref %} ## 3. Control Projector Shutters on the Timeline with Cue Clips {% embed url="" %} Timeline: Control Projector Shutters on the Timeline with Cue Clips {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Add a Cue Clip onto the Timeline. 2. Navigate to Cue Properties and select the Closed Shutter Cue as its source. 3. Double-click on the Timebar to move the Playhead. 4. Press the \[space bar] to start playback. 5. Watch the projector’s shutter closes when the Playhead reaches the Cue Clip. {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} # Network Messages & External Control # Connect PHOTON and QLab Through UDP {% file src="/files/-Lpj13z9T7cCNrIO0twS" %} Download step-by-step {% endfile %} ## Description PHOTON has the capacity to send and listen to messages written in the UDP protocol. This means that PHOTON can trigger or be triggered by other UDP compatible devices on a network. This guide presents the steps involved into configuring QLab and PHOTON correctly so they can send basic commands to each other, such as pause and play. The communicating computers first need to be set on the same network. For example, PHOTON’s IP address could be set at 172.17.1.11 and QLab’ IP address at 172.17.1.111, both having subnet mask set to 255.255.255.0. * Once the network settings are ok for both parties, go to the OSC tab of the preferences menu\ \[CMD+,] in QLab. * In an empty patch slot, add PHOTON as a destination and correctly set the IP\ address and port. The default communication port to send UDP commands to PHOTON is 55503. * Next, in PHOTON, configure the destination you want to send cues to. Open to the I\O manager \[ALT+i] and click of the Network Protocol tab. The cue must match QLab’s IP address and communication port. The default port to send UDP to QLab is 53535. {% hint style="warning" %} The syntax QLab is using. If the user wishes to launch cue number1 the syntax should be as follow: /cue/{number}/start. The same applies for a stop except you use the Stop command; /cue/{number}/stop. It is important to add a space before the slash in the command line for QLab. {% endhint %} To send cues from Qlab to PHOTON, the user needs to drop an OSC cue in the cue list. Then, in the Settings tab, at the bottom of the workspace, the destination needs to be set to PHOTON. The message type should be changed to Raw UDP string (instead of OSC). Finally, the proper command shall be entered in the message box with the correct syntax. ## Step-by-step tutorial {% embed url="" %} Connect Photon and QLab throught UDP (Receive UDP in PHOTON) {% endembed %} ### Send UDP from PHOTON This portion of the step-by-step shows how to use PHOTON to trigger an audio cue in QLab. #### QLab 1. Create a new audio cue. Select {Cues > Audio} or press \[Cmd+1]. 2. Make sure the Basics tab is selected. 3. Enter a cue Number in the Number field. 4. Select an audio file as the cue Target. #### PHOTON 1. Open the I/O Manager module. Select {System > I/O Manager} or press \[Alt+I]. 2. Select the Network Protocol tab. 3. Add a new message by clicking on the \[+] button. 4. Select UDP as Message type. 5. Configure the IP address and port of the computer running QLab. The default communication port to send UDP commands to QLab is 53535. 6. Enter the message to trigger a cue in QLab. To start a cue : /cue/{number}/start 7. Press on the \[Send] button 8. To create a Send UDP cue on the Timeline, open the Cue Editor module. Select {Show > Cue Editor} or press \[Alt+Q]. 9. To view the full cue list, select {View > View Full}. 10. Create a new cue by clicking on the \[+] button. 11. Click on the \[Record] button to record your action. 12. Navigate back to the I/O Manager module. Select {System > I/O Manager} or press \[Alt+I]. 13. Click on the \[Send] button. 14. Navigate back to the Cue Editor module. Select {Show > Cue Editor} or press \[Alt+Q]. 15. Click on the \[Record] button again to stop recording your action. 16. Open the Timeline module. Select {Show>Timeline} or press \[Alt+T]. 17. Create a new Cue Clip on the Timeline. Right-click on a layer track to open a contextual menu and select {Add Cue} or press \[Ctrl+U]. 18. Navigate to Cue Properties and select your Cue as its source. 19. Click-drag the Playhead to position it before the Cue Clip on the Timeline then press the \[spacebar] to resume playback. 20. The Cue will be executed when the Playhead intersects the Cue Clip. ### Receive UDP in PHOTON This portion of the step-by-step shows how to use QLab to send a UDP message to PHOTON. #### QLab 1. Open the Settings menu. Click on the gear icon at the lower right corner of the window. 2. Select the Network tab. 3. Add a new network patch. Click on the \[New Patch] button or press \[CMD+N] 4. Add PHOTON as a destination and set its IP address and port. The default communication port to send UDP commands to PHOTON is 55503. 5. Add a new network cue. Select {Cues > Network} or press \[CMD+8]. 6. In the Settings tab, enter PHOTON’s IP address and port as the destination. 7. Select UDP message from the Type dropdown menu. 8. Entered the command in the message box with the correct syntax. 9. In this example, we will use QLab Network Cue to trigger Cue ID 1 set in Photon. Enter \ CUE\_EXEC\_ID 1 \ in the message box. #### PHOTON 1. Open the Timeline module. Select {Show>Timeline} or press \[Alt+T]. 2. Locate Regions Editing in the Timeline window and click on the \[+] button to create a new Region. 3. Set the In-point at 00:00:00:00. 4. Set Out-point at 00:02:00:00. 5. Open the Cue Editor module. Select {Show>Cue Editor} or press \[Alt+Q]. 6. To view the full cue list, select {View > View Full}. 7. Create a new cue. Click on the \[+] button. 8. Set the Cue ID to 1. 9. Press the \[Record] button. 10. Navigate back to the Timeline module. Select {Show>Timeline} or press \[Alt+T]. 11. Select region 1. 12. Navigate back to the Cue Editor module. Select {Show > Cue Editor} or press \[Alt+Q]. 13. Click on the \[Record] button again to stop recording your action. 14. To make sure the communication between QLab and Photon is set up correctly, open the Logs module. Select {System > Tools > Monitoring > Logs} or press \[Alt+L]. #### QLab 1. Select the network cue in your workspace. 2. Select the Settings tab. 3. Click on the \[Send] button. #### PHOTON If the communication between computers and your UDP message string are set up correctly the Logs will display: SHOW CONTROL : {your UDP message}. # External TCP/UDP Control Specifications Implementation: Photon v 11 ## UDP/TCP Default Port Unless overridden, Photon’s and Xenon’s default TCP and UDP control port is: 55503 The TCP server will reply with the received commands to each connected client. UDP commands will be replied to as broadcasts on the main network interface using the same UDP port as configured for the reception. ## UDP/TCP Network Syntax ``` [OpCode] [parameters] ``` ### Network Control | Command | Opcode | Parameters | Types | Ranges | | ------------------ | ---------------------------------------- | ----------------------- | ----------------- | --------- | | TimeLine Speed | SET\_TIME\_SPEED | Speed | \[float32] | \[-5 ; 5] | | TimeLine Seek | SET\_TIME\_SEEK | Frame # | \[unsigned int32] | \[0 ; N] | | TimeLine FreeRun | SET\_TIME\_FR | FreeRun on/off | \[unsigned int32] | \[0 ; 1] | | TimeLine LTC | SET\_TIME\_LTC | Time-Code on/off | \[unsigned int32] | \[0 ; 1] | | Special Codes | 90BC9E48\_6D84\_4F8C\_AA23\_72E3379AC71C | special\_code | \[unsigned int] | \[0 ; N] | | Execute Cue ID | CUE\_EXEC\_ID | Cue # by ID | \[unsigned int32] | \[0 ; N] | | Query system state | GET\_SYSTEM\_STATE | No parameters | | | | Delete Media | REMOVE\_MEDIA | "media\_name.extension" | | | ### Special Codes
Code ControlID
Normal Mode0
Sleep Mode1
Fire Alarm2
Fire Alarm 23
Reboot Photon4
Reboot Server5
Quit Photon6
Shutdown Server7
Enable Offline Mode8
Disable Offline Mode9
Show/Hide UI10
## Syntax Rules * Capitalization must be respected. * Spaces between Tag, Opcode and Parameters are mandatory. ## Examples ### Cue trigger via ID number ``` CUE_EXEC_ID 0 ``` ### Set Photon in Sleep Mode ``` 90BC9E48_6D84_4F8C_AA23_72E3379AC71C 1 ``` ### Get Server State ``` GET_SYSTEM_STATE ``` When querying the system state using the above command, Photon will reply using its internal XML-like syntax. Below is an example of the system-state reply syntax: {% code overflow="wrap" %} ``` Photon-01 9.30233 23 900344 19.7842 0.772476 0.950111 0.08192 11 77 0 0 0 60.0375 -1 3 11.1.10532 ``` {% endcode %} {% hint style="info" %} * Hostname: name of the server * CPU usage: total percentage of CPU being used * Memory usage: total percentage of the system memory currently in use * Process Memory Usage: Memory in use by active process * VRAM usage: total percentage of GPU memory currently in use * VRec Usage: Video recycler usage * Disk usage: Total ratio of disk usage currently in use (1 means 100%) * Disk Bw: Disk reading speed in megabytes per second * GPU Usage: GPU usage in % * GPU Temperature: The current temperature of the GPU is expressed in Celsius * GSync: G Sync active/G Sync External refresh rate * Net: Photon Network usage in % * FPS: System’s Current frame rate * Task: Current task progress in % (import and conversion) * -1: Inactive * Status: User Interface and openGL context status (Status can be combined ex: 3 is UI(1) + NFS(2)) * 0 - OK: Everything is fine and no UI is shown * 1- UI: The user interface is displayed * 2- NFS: Not full screen, Photon GL Context is not covering the entire span of the outputs * 4- NVS: Not Vertical Sync * 8- RAID: Raid Problem * 16- Triple Buffering: Restart Required due to Triple Buffering Off * Version: Current running system version {% endhint %} ### Remove Media #### Original File ``` REMOVE_MEDIA "test_video.mp4" ``` #### VCI ``` REMOVE_MEDIA "test_video.vci" ``` REMOVE\_MEDIA command allows to delete medias from the Media Library (including medias in playlist and actual files in content folder) Please note the double-quotes (") in the command are required. ***NB: it implements explicit removal with a complete filename. For example if you remove "file.vci" it will remove all related vci/vcd/aci/acd files but not the original media, you will need to explicitly call the REMOVE\_MEDIA command with "file.mp4" to get rid of the original.*** # FX # Notch Integration **This guide will show you how to:** * Configure your PHOTON server to enable native Notch playback; * Import Notch Blocks in PHOTON; * Integrate Notch Blocks as Stack FX in PHOTON; * Modify exposed Notch Block parameters in PHOTON. {% file src="/files/-M-l61417oSW5S-HDUDa" %} Download Step-by-Step {% endfile %} {% embed url="" %} Notch Integration {% endembed %} ## Description Notch is a generative content creation environment. Within this environment, content creators use graphical programming to create original visual effects by connecting various nodes into a logical structure. Notch Blocks are saved instances of these logical structures that can be exported from their original environment and loaded in other software platforms such as PHOTON. For additional information on Notch, please visit: [www.notch.one](http://www.notch.one/) PHOTON allows users to import Notch Blocks and run them natively through its interface. Parameters that were exposed in Notch while creating the Block will be accessible in PHOTON for modifications. Keep in mind that the media server running PHOTON will dedicate a portion it’s GPU to the execution of the Notch Block’s commands. Overall performances will be affected. Note: Notch does not impose limitations on its users when it comes to the complexity or size of their Blocks. Therefore, it is fully possible to exceed the available graphic memory allocation when designing a Block and experience crashes or performance issues. Since a Notch Block integrated in PHOTON will share the available graphic memory, you might want to run performance tests before a show. ## Prerequisites You will at least need the following items to integrate a Notch Block in PHOTON: * A media server running PHOTON; * A Notch PLAYBACK dongle; * At least one exported Notch Block. In order to pipe generative through PHOTON and display it on Screens, you will need a PHOTON media server equipped with its usual dongle. Displays should be connected to the media server. The server will also need another dongle that allows Notch to run. Notch uses Codemeter licensing. You will need to execute an installer issued by Codemeter to use the dongle. Additional details and installers can be found at : [www.wibu.com/products/codemeter.html](http://www.wibu.com/products/codemeter.html) A Notch Block has to be exported from the Notch Builder authoring software. Once exported, a Notch Block is packed in a .DFXDLL file. This file has to be copied on a drive accessible to the server running PHOTON. ### Notch Block Import You will now have to import the Notch Block in PHOTON. In order to do so follow these steps: 1. Select {Show > File Manager} or press \[Alt+F] to open the File Manager module. 2. Click on the Import button ![](/files/-M-RQDQ6EQZwhRkoz3qY)to open the “Import file(s)” window. 3. Navigate in the OS using the window’s controls to locate the Notch Block files (.DFXDLL) you want to import. 4. Click on the name of the file you want to import. You can also \[Shift+Click] on multiple names to perform a multiple selection. 5. Click the \[Open] button of the “Import file(s)” window to import the Notch Block(s). ![](/files/-M-RQDQ7imvSslUZaXUr) The Notch Blocks will now be available in PHOTON. To make sure that they were correctly imported, follow these steps: 6. Click on the \[Plugin] button in the File Manager Filters list to eliminate any other entry besides Plugins in the Media Files list. 7. Review the list to see if it contains the Notch Blocks that were previously imported. ![](/files/-M-RQDQ893HqyzibCG_n) ## Notch Block Integration as a Stack FX Notch Blocks are currently integrated in PHOTON trough Stack FX Clips. Stack FX Clips are Timeline containers that hold various types of visual effects. Follow these steps in order to integrate Notch Blocks as Stack FX: 1. Select {Show > Timeline} or press \[Alt+T] to open the Timeline module. You will now have to create a new Layer linked to the Screen where the Notch Block will be integrated as an effect. 2. Select the Screen by clicking on its entry in the Layers list. 3. Click on the \[+] button located in the Master Layer panel to add a new Layer. 4. Select the new Layer by clicking on its entry. 5. Press \[Ctrl+E] or right-click in the new Layer’s track in the Timeline to open a contextual menu, then select {Add FX Stack}. ![](/files/-M-kqQumND5WDuxcLh4x) 6. Click on the new Stack FX Clip to select it. 7. Locate the FX Stack Properties panel positioned in the top right corner of the Timeline window. 8. Click the Notch entry in the FX List located in the FX Stack Properties panel. You have now linked the Stack FX Clip to Notch. 9. A Notch sub-section located beneath the Stacked FX list window section has appeared. The Notch sub-section contains a dropdown menu that will allow you to select which Notch Block to load in the Stack FX Clip. ![](/files/-M-kqUAxwL8rov85klkd) {% hint style="info" %} Notch Blocks will eventually be supported in PHOTON through the FX Graph module. {% endhint %} ## Notch Block Parameters Modification A series of Parameters corresponding to the Exposed Attributes that were created in Notch Builder should now populate the FX Stack window section. You will be able to manipulate them in order to modify the visual effect’s behavior in real time. {% hint style="info" %} If you wish to interact with Notch Blocks parameters through PHOTON, you absolutely have to declare which attributes are exposed in the Notch Builder. This cannot be done once the block has been loaded in PHOTON. {% endhint %} ### Types of Parameter Modification Exposed Attributes are visually expressed in PHOTON as sliders (used to change a value in a linear fashion) and dropdown menus (used to perform a selection between a set of finite options). You can either manipulate them directly wit the mouse, animate them using keyframes and the Timeline or link them to other devices such as external controllers or processes such as FX Graphs. ### Direct Mouse Manipulation \[Click+Drag] on sliders to modify their current value. OR \[Double-click] on sliders to open a field where you can enter a new numerical value. \[Click+Drag] on a contextual menu to perform a selection. ### Keyframe Animation 1. \[Right-Click] on a slider or dropdown menu to open a contextual menu. 2. Select {Animate}. The parameter will now be accessible in the Keyframe Editor module. (Press \[Alt+K] or select {Show > Keyframe Editor} to open the Keyframe Editor module.) ### I/O Mapping 1. \[Right-Click] on a slider or dropdown menu to open a contextual menu. 2. Select {I/O Mapping > Create in Global Mappings > *anyoftheoptions*}. The parameter will now be linked to the selected device/process/protocol corresponding to your last selection. The mapping you just created is now accessible through the Mapping Manager module. ![](/files/-M-RQDQBEe5BzsldUCB2) ### Enable/disable Persistent Memory A \[Persistent Memory] toggle is located in the notch sub-section of the FX Stack Properties Panel. This toggle allows you to pre-allocate a persistent block of memory to the Notch Block. Some Notch Blocks can take some time to load if they were not previously stored in RAM/VRAM. If you need to jump rapidly to a Notch Block and avoid stutter, you should consider enabling the Persistent Memory option. * Click once on the \[Persistent Memory] toggle to enable Persistent Memory allocation for the currently loaded Notch Block. (Click a second time to disable Persistent Memory allocation.) {% hint style="info" %} A complex Notch Block composed of many memory demanding nodes might take up to a few minutes to load. PHOTON might freeze during such a long loading sequence. {% endhint %} {% hint style="warning" %} We have noticed that Windows Defender considerably prolongs Notch Blocks load time. It is preferable to deactivate Windows Defender if the computer running Notch is not connected to the Internet. {% endhint %} # Use A Graph Asset to Create a FX ## 1. Add an Input Device {% embed url="" %} I/O Manager: Add an Input Device {% endembed %} {% hint style="info" %} **OPEN THE I/O MANAGER MODULE** Select {System > I/O Manager} or press \[Alt+I]. {% endhint %} 1. Select the Input Device tab. 2. Add a new Active Device slot by clicking on the \[+] button. 3. Select an {input device} from the Available Devices dropdown menu. {% content-ref url="/pages/yxg4ci8XP7yebQ3L5JJz" %} [I/O Manager](/modules/i-o-manager) {% endcontent-ref %} ## 2. Use an Asset Graph {% embed url="" %} FX Graph: Use an Asset Graph {% endembed %} {% hint style="info" %} **OPEN THE FX GRAPH MODULE** Select {Show > FX Graph} or press \[Alt+X]. {% endhint %} 1. Add a new Graph by clicking on the \[+] button. 2. Click on the \[Add Asset Graph] button. 3. Under the FX section click-drag the Old Film asset graph in the Graph window. {% content-ref url="/pages/NyZbznIp4U8kttDJrt87" %} [FX Graph](/modules/fx-graph) {% endcontent-ref %} ## 3. Add the Input Device as the Texture Source {% embed url="" %} Timeline: Add the Input Device as the Texture Source {% endembed %} {% hint style="info" %} **OPEN THE TIMELINE MODULE** Select {Show > Timeline} or press \[Alt+T]. {% endhint %} 1. Select the Root and add two Layers by clicking on the \[+] button or by pressing \[Ctrl++]. 2. Add an Input Device Clip on the first Layer and select your device as the source from the Input Device Properties. 3. Add an FX Graph Clip on the second Layer and select the first Layer as the Texture Source from the FX Graph Properties {% content-ref url="/pages/KI5QSft07C5vZom3FZpO" %} [Timeline](/modules/timeline) {% endcontent-ref %} # Controlling an addressable LED strip using the Art-Net Mapping node {% embed url="" %} Controlling an addressable LED strip using the Art-Net Mapping node {% endembed %} ## Description The Art-Net Mapping node in the FX Graph module can be used to transform video content into DMX data. In this example, we will use the /line\_generator/ node to generate content that will be mapped on the LEDs. You can use any video source, real-time or playback, as long as it has the same resolution as your LED setup. {% hint style="info" %} RGB LEDs need three DMX channels per LED. This means you can control up to 170 RGB LEDs per DMX Universe. {% endhint %} ## Prerequisites * An addressable RGB LED strip. * An Art-Net LED Controller. ## Actions 1. Open the Settings module. Select {System > Settings} or press \[Alt+S]. 2. Select the Control tab. Select your local server from the I/O Control and DMX Control dropdown menus. 3. Open the I/O Manager module. Select {System > I/O Manager} or press \[Alt+I]. 4. Select the DMX tab and activate the \[Enable Server] toggle. Make sure the \[Art-Net] toggle is activated. 5. Select interface used to stream Art-Net from the Network Interface dropdown menu. 6. At all times, you can enable the DMX Viewer to monitor the server’s output. 7. Open the FX Graph module. Select {Show > FX Graph} or press \[Alt+X]. 8. Create a new Graph and activate the \[Enable Preview] toggle. 9. Create an /Art-Net Mapping/ node. 10. Set the Max value to 0. 11. Set the Color Mode to RGB. 12. Set the Width and Height parameters to match the resolution of your LED setup (170X1). 13. Create a /line\_generator/ node and modify its parameters to match the LED setup’s resolution (170X1). 14. Connect the /line generator/ node to the /Art-Net Mapping/ node. {% content-ref url="/pages/zpn835ObiQyAz9eOkAyk" %} [Settings](/modules/settings) {% endcontent-ref %} {% content-ref url="/pages/NyZbznIp4U8kttDJrt87" %} [FX Graph](/modules/fx-graph) {% endcontent-ref %} {% content-ref url="/pages/yxg4ci8XP7yebQ3L5JJz" %} [I/O Manager](/modules/i-o-manager) {% endcontent-ref %} # Interactive Floor with One OptiTrack Camera {% file src="/files/-Lpj2Bv\_bDVX5UwpfGpT" %} Download step-by-step {% endfile %} ## **Setup the Server to Access the Camera** 1. Start PHOTON. 2. Open Setting menu {System > Settings}. 3. Click on the PHOTON submenu. 4. Set the server’s System Mode to either Controller or “Display Master. (img 1) 5. Click on the Control submenu. 6. Declare your local server as the ALBION Controller and Auto Calib Controller. (img 2) ![img 1](/files/-LgYI_Zw3Z8_MRFOTD7Y) ![](/files/-LgYI_ZxBYLmiVkT1YLM) ## **Calibrate the Camera** 1. Open the 3D Scene module {System > 3D Scene}. 2. Auto create the Optitrack cameras available on the network. (img 3 and img 4) 3. Click on “OK” when the confirmation box appear in the middle of your screen. 4. Create a plane in the 3D Scene module {Primitive > Default Objects > Plane}. 5. Click on the plane in the Scene Primitives list (left of the 3D Scene window). 6. Open the Transformation panel {3D Scene > Window > Transformation}. 7. Measure (in meters) the LED screen or the projection surface. 8. Set the X and Y scales of the Plane so it matches the previous measurements. 9. Rotate the plane so it is parallel to the grid of the 3D Scene Preview. Input -90 as the value of the Rotate X slider located in the Transformation Panel. 10. In the Calibration Tools Window, click on the camera that will be used for motion detection. 11. Select “Apply Reconstruction Settings” from the SLAC Settings. (img 5) 12. Put the camera in MJPEG in the video mode below Retro Reconstruction.\ Enable the IR Filter if the installation is equipped with an infrared light. 13. Click on the dropdown menu Object Reference. 14. Select the plane and then click on add. 15. Use \[Ctrl+double-click] to declare Calibration Points on each vertices corresponding to the corners of the plane. 16. Manipulate the Calibration Points to apply a keystone geometric correction to the projected plane. Use the camera view to make sure the plane’s calibration is ok. ![img 3 ](/files/-LgYI_Zz7pUnO7KtaD4C) ![img 4](/files/-LgYI_Zybg2PgBEZ2bvO) ![img 5](/files/-LgYI__-5zwpblhVQvYt) ![img 6](/files/-LgYI__020zOq_r79MsQ) ## **Use the Calibrated Camera in the Timeline** 1. In the Timeline module, create an Input Device clip in the Root. 2. Select the proper input source for the clip in the Input Device Properties. (img 7) 3. Create a virtual projector clip for the plane object. (It corresponds to the floor of your installation). 4. Set the source of the virtual projector to the input device declared in the Root. 5. The POV of the virtual projector will be the calibrated camera. (img 8) 6. Create a Stack FX or a FX graph with the following effects: 1. Create a Stack FX or a FX graph with the following effects: (img 9) ![img 7](/files/-LgYI__1Ry8C5a5Kl6Rf) ![img 8](/files/-LgYI__2aQUCRR3c0vA7) ![img 9](/files/-LgYI__3PMxOzGe6sxTF) --- [Next Page](/llms-full.txt/1)