The MX-50 Video Mixer Quick Reference Guide

Step-By-Step Instructions to the Most Popular Effects
From The MX-50: Shaken, Not Stirred Video Tape Series.
http://www.studio1productions.com

From Studio 1 Productions
Visit our website at www.studio1productions.com

Copyright 2004, David Knarr, Studio 1 Productions
(386) 788-6075

Copyright (c) 1998 by David Knarr. All rights reserved. No part of this publication may be reproduced without the prior permission from David Knarr of Studio 1 Productions. This guide was originally produced by Steve Bolander.

INTRODUCTION

The Panasonic MX-50 Video Mixer QUICK REFERENCE GUIDE was designed to assist the user of the Panasonic WJ-MX50 Digital Video Mixer in obtaining both common and advanced effects that are capable of being created on this unique special effects generator.

Although this guide can be used as a stand-alone instructional manual, the MX-50 QUICK REFERENCE GUIDE, or "Q.R.G.", will also act as a companion publication to the "MX-50: SHAKEN. NOT STIRRED" video tape instructional series (from Studio 1 Productions), as well as being a directory to the factory owner's manual.

The Q.R.G. will begin with a table of contents which will direct the user to a specific page that contains the effect.

The actual effect page will first describe the effect by name followed by a number in parentheses that indicates the volume number and the hour/minute/second of the "MX-50: SHAKEN. NOT STIRRED" video tape that demonstrates the effect. For example: COLOR BLOCKING (II, 00:02:17) indicates that the effect is shown on Volume Two at two minutes and seventeen seconds into the tape. The 00:00:00 counter reset position is at the first appearance of the word "WARNING" in the copyright disclaimer at the beginning of the tape.

When supplemental information is available from the factory owner's manual, parentheses holding "OM" followed by a page number will appear after the effect name (i.e., AFTER IMAGE (OM p37).

The MX-50: Shaken, Not Stirred is available only from Studio 1 Productions. (386) 788-6075 

SYSTEM CONFIGURATION

Unless otherwise stated, the following basic configuration of your Panasonic MX50 digital video mixer will be assumed when diagrams are shown for setting up effects:

Input #1: Playback VCR "A"
Input #2: Playback VCR "B"
Input #3: Live video camera (on tripod or copy stand)
Input #4: A connection from the Program Out (for feedback or looping effects)

DOUBLE-PASS OR LAYERED EFFECTS

When an effect is stated to be "double-passed" or layered, a two-step process will be described in which the first part of the effect will be recorded onto a video tape and that particular video tape will be used as a playback tape with it's contents going through the Panasonic MX-50 digital video mixer, combined with additional effects, and then recorded onto another tape.

The first tape in this procedure will be called the Submaster tape and the subsequent tape that it is recorded onto will be called the Edit Master (your final product).

An example of "double-passing" or "layering" is the use of an external wipe pattern tape used to create the Video Toaster type wipes (illustrated on Volume I of "The MX-50: Shaken. Not Stirred." at 00:41:48) or the A/B Scrolling compression Boxes (illustrated on Volume III at 00:20:00).

Note: If an effect description says "bring the T-Bar down to the B Buss," make sure that the L.E.D. light (buss indicator) is also on the B Buss.

TABLE OF CONTENTS

A/B ROLL COMPRESSION BOXES
AFTER-IMAGE
ANIMATION TAPES THRU LUMINANCE KEY
CHROMA-KEY DOUBLING
COLOR-BLOCKING
COLOR KEY SUBJECT OVER B&W BACKGROUND
COMET-TAIL FLY-ONS
COMPRESSED CIRCLE/OVAL/DIAMOND WIPES
COMPRESSION LOOPING
COPYING FROZEN PICTURE TO ANOTHER BUSS
DOUBLE CAMERA CHROMA-KEY
DOUBLE SCREEN TRAILS
DROP-SHADOW PICTURE-IN-PICTURE
ELECTRONIC PHOTO SCROLLING
"ENTERTAINMENT TONIGHT" TITLES (Video Expansion)
FLY-ON TITLES
THE H.D.T.V. LOOK (Letter Boxing)
MULTI-PICTURE OVER VIDEO
MULTIPLE BACKGROUND (Matte) COLORS
THE "NIGHT-TIME" LOOK
THE "OLD TIME" MOVIE LOOK
SIMULATED TUMBLES
SIXTEEN DIFFERENT MULTI-PICTURES
SPOTLIGHT EFFECT
TITLE BANNERS
TITLE FEEDBACK
THREE-WAY COMPRESSION
TOASTER WIPE PATTERNS
TRAILS OVER VIDEO
TRANSPARENCY FLY-ONS
TWO COMPRESSED P.I.P.s SIDE BY SIDE
TWO-WAY SLIDING VIDEO
UPSTREAM TITLE KEYING
VIDEO IN THE WEDDING ALBUM
THE "VIDEO WALL"

APPENDIX A

PANASONIC WJ-MX50 DIGITAL VIDEO MIXER GLOSSARY
INDEX TO MX-50: SHAKEN. NOT STIRRED.
INSTRUCTIONAL VIDEOTAPE SERIES

A/B ROLL COMPRESSION BOXES ( Vol. III, 00:20:00)

Effect: The illusion of alternating side to side compressed P.I.P.s floating upward. (Double-pass/layered effect)

Step One: Create a compressed box wipe and place subsequent P.I.P. on left side of screen with the Positioner. Record 5 second duration shots onto Submaster Tape Number One from raw footage.

Step Two: Create a compressed box wipe and place subsequent P.I.P. on right side of screen. Record 5 second duration shots onto Submaster Tape Number Two from raw footage.

Step Three: Play back Submaster Tapes 1 & 2 on playback VCRs 1 & 2 assigning them to Busses A & B, respectively. Engage Push Slide mode (push Slide button twice) on Panasonic MX-50 video mixer with an Auto-Take transition speed of about 76. As pictures scroll upward, press Auto-Take immediately at the end of each sliding cycle and record this effect onto your Edit Master tape.

AFTER IMAGE ( Vol. I, 00:54:43) (OM p37)

Effect: The primary picture appears to have a ghost-like strobing image that lags slightly behind.

Step One: Feed a single video image to both the A & B Busses. Place the WJ-MX50 in the Mix mode and place the T-Bar about half way between the two busses.

Step Two: Engage the Strobe mode on the B Buss only and adjust the Strobe Speed to your liking.

ANIMATION TAPES THROUGH THE LUMINANCE KEY (Vol. III, 00:25:33)

Effect: Graphics and titles generated from pre-recorded animation tapes (i.e. Rab-Bytes, Producer Series) are superimposed over live video.

Step One: Assign your live video to an input on the A Buss and assign the animation tape to an input on the B Buss.

Step Two: Turn on the Luminance Key mode and bring the T-Bar down to the B Buss. Adjust Slice control until a clean video signal appears in the black areas of the animation tape.

CHROMA-KEY DOUBLING (Vol. I, 00:44:05)

Effect: One person can appear on screen with their "identical twin."

Step One: Perform a normal recording of the person at any location with any background, making sure that space exists in the frame for the "twin" (which will be added later).

Step Two: Play the above tape back through the Panasonic MX-50 video mixer on the A Buss and turn on the Chroma-Key mode. Bring the T-Bar down to the B Buss.

Step Three: Have your subject stand in front of your Chroma-Key Blue back-drop and feed the live camera image of him/her into the B Buss.

Step Four: Adjust the Hue and Slice controls until the A Buss' image cleanly fills the blue background.

Note: Observe proper lighting techniques.

COLOR BLOCKING (Vol. II, 00:02:31)

Effect: The entire video picture is in black and white, with the exception of a specific object, which is in color.

Step One: Feed a video signal (either live camera or playback tape) into both the A Buss and the B Buss. Turn on the Chroma-Key mode and bring the T-Bar down to the B Buss.

Step Two: Engage the Mono (black & white) button on the B Buss only.

Step Three: Set the Slice control at about the "12 o'clock" position and begin turning the Hue control until a specific color starts to "bleed through" from the A Buss. Fine tune the effect with the Slice control.

COLOR SUBJECT OVER BLACK & WHITE BACKGROUND (Vol. I, 00:51:07)

Effect: A full color keyed subject stands in the middle of a black & white background.

Step One: Freeze a background on the A Buss with the Still button and push the Mono button to make your background black and white.

Step Two: Have your key subject stand in front of your Chroma-Key Blue backdrop, turn on the Chroma Key mode, and bring the T-Bar down to the B Buss.

Step Three: Feed the live camera signal that is capturing your key subject into the B Buss (leaving the B Buss in color) and adjust the Hue and Slice controls to achieve a clean Chroma-Key Effect.

COMET-TAIL FLY-ONS (Vol. III, 00:04:17)

Effect: A compressed video P.I.P. flies on and off the screen with a streaking comet-tail trail behind it.

Step One: Feed your single video source to an input on the A Buss and engage the MX-50 Special Mode. Select Special Mode number 2 or 3 (regular fly-on or corkscrew fly-on).

Step Two: Assign your video feedback channel (the Program Output of the MX-50 fed back in to a source input) and push the Reverse button in the Wipe Pattern section.

Step Three: In the Fade Control section, assign Video fade to "A" and bring the fade lever down about a fourth of the way from the top. Set the Auto-Take speed to about 54.

Step Four: Beginning with the T-Bar in the B Buss position (you'll see a black screen), push the Auto-Take button and the P.I.P. will fly-on with it's comet-tail behind it. Press the Auto-Take button again and the picture will fly off in the same manner.

COMPRESSED CIRCLE / OVAL / DIAMOND WIPES (Vol. II, 00:03;36) (OM p37)

Effect: A video picture is compressed inside of a circle, oval, or diamond shaped P.I.P.

Step One: With either one video signal and a background matte color, or two video signals, each one assigned to a different buss, push the Compression button in the Wipe Pattern section and then push the Square wipe pattern button.

Step Two: Use the T-Bar to compress the desired buss into a square P.I.P., engage the Positioner, and position the square P.I.P. on the screen in the desired location.

Step Three: Engage the Scene Grabber button.

Step Four: Repeatedly push the Square wipe pattern button until you obtain a circle, oval, or diamond. Use the T-Bar to trim the edges of the P.I.P.

COMPRESSION LOOPING (Vol. II, 00:30:42)

Effect: A single video picture appears to repeat itself indefinitely as it diminishes in size back into infinity.

Step One: Assign your single video source to the A Buss and assign your video feedback channel to the B Buss.

Step Two: Place the T-Bar in the A Buss position and push the Compression button followed by the Square wipe pattern button.

Step Three: Engage the Positioner and slowly bring the T-Bar down from the A Buss as you move the Positioner to obtain an infinite P.I.P. (Picture-In-Picture).

COPYING A FROZEN PICTURE TO ANOTHER BUSS (Vol. III, OO:30:51)

Effect: A video scene is frozen (Still) on one buss and it needs to be moved to the Still on the other buss.

Step One: Place the T-Bar on whichever Buss already has the frozen, or Still, picture.

Step Two: Assign your video feedback channel to the opposite Buss and then go to it's respective Digital Effect module.

Step Three: On that particular Digital Effect module, press the Still and Frame buttons. You have now sent the original frozen picture out of the Panasonic MX-50's Program Out jack and right back into the other buss' Digital Effect module to be captured there.

DOUBLE CAMERA CHROMA-KEY (Vol. III, OO:32:01)

Effect: Two real-time "twins" appear on screen at the same time, but at slightly different angles.

Step One: Set up the basic Chroma-Key effect with the primary live camera assigned to the B Buss and your key subject is standing in front of the Chroma-Key Blue backdrop.

Step Two: Bring the T-Bar down to the B Buss and turn on the Chroma-Key mode.

Step Three: Instead of feeding a pre-recorded video source to the A Buss to be the background, assign a second camera to the A Buss. This second camera will also be pointing at the key subject, but from a different angle than the primary camera.

Step Four: Adjust the Hue and Slice controls as necessary. The background behind the key subject, as seen by the primary camera, will be filled in with the image from the second camera.

DOUBLE SCREEN TRAILS (Vol. III, 00:31:27)

Effect: Two sets of trailing videos will enter the screen, one above the other.

Step One: Assign either one video source to both busses or two different video sources, one to each buss.

Step Two: Push the Slide button once and push the Straight Wipe button once to achieve a vertical slide.

Step Three: Place the T-Bar in the half-way position and set the Trail Time control to about the 12 o'clock position.

Step Four: Push the Trail button on one Digital Effect module and then immediately go over to the other channel's Digital Effect module and push Trail again. Two trails will enter the screen from whichever side the Positioner is placed.

DROP SHADOW PICTURE-IN-PICTURE (Vol. II, 00:10:26)

Effect: A square wipe pattern compressed into a P.I.P. has a three dimensional drop shadow off two of it's sides.

Step One: Assign either one video source to the A Buss and a background matte color to the B Buss; or assign one video source to the A Buss and another to the B Buss.

Step Two: Push the Compression button followed by the Square wipe pattern button and use the T-Bar and Positioner to size and place the P.I.P. on screen.

Step Three: Plug a copy stand camera into the External Camera input and point the camera at the drop shadow graphic included with Volume II or one of your own design.

Step Four: Turn on the Downstream Key section and push the Ext. Camera button, as well as the Full Matte button.

Step Five: Select the color White in the Matte Generator section and turn the Level control to about the nine o'clock position (this will produce a dark gray color).

Step Six: Bring up the right side Key Level slider in the Downstream Key section until a clean "L-shaped" figure appears superimposed over your video screen. Align the compressed P.I.P. with the keyed-in drop shadow by either moving the P.I.P. or the drop-shadow graphic under the camera. Size it by either changing the size of the P.I.P. with the T-Bar or by moving your copy stand camera up or down.

ELECTRONIC PHOTO SCROLLING (Vol. II, 00:25:30)

Effect: An elongated photograph, or wedding invitation, is smoothly scrolled up the screen as if a rostrum-type camera was scanning it.

Step One: Engage the Push Slide mode by pressing the Slide button twice and press the Straight Wipe button once to effect a vertical push-up slide effect.

Step Two: Assign your copy stand camera to an input that will feed one of the main source inputs (not the External Camera), assign that particular input to both the A and B Busses, and place the photograph (or invitation) so that only the top half is seen by the camera on a full screen.

Step Three: With the T-Bar in the A Buss position, go to the Digital Effect module for the A channel and push Still and Frame to capture the top half of the photo on the A Buss.

Step Four: Bring the T-Bar down about half-way and line up the bottom half of the photo. Go to the Digital Effect module for the B channel and push Still and Frame to capture the bottom half of the photo on the B Buss.

Step Five: Bring the T-Bar back up to the A Buss, push the One-Way button in the Wipe Pattern section, and set the Auto-Take transition speed to 200-300. As you push the Auto-Take button, the two halves of the photo will scroll upward.

Note: It is very important that the photo or invitation is equally lit from all sides so that the bottom of the top half and the top of the bottom half match up seamlessly.

"ENTERTAINMENT TONIGHT" TITLES (Video Expansion) (Vol. III, 00:12:17)

Effect: A slightly compressed P.I.P. sits atop of a slightly blown-up, or expanded version of the same picture. Titles scroll upward into the bottom of the compressed picture.

Step One: Assign a playback video source to an input on the A Buss and assign a tripod-mounted live camera passed through a stand-alone character generator and then on to the B Buss.

Step Two: Display the playback VCR's signal on it's own discreet TV monitor, as well as displaying the overall effect on a separate Program monitor.

Step Three: Create a compressed P.I.P. of the video source on the A Buss by placing the T-Bar slightly down from the A Buss position, engaging the Reverse button only in the Wipe Pattern section, pushing the Compression button followed by the Square wipe pattern button, and then use the Positioner to place the compressed P.I.P. at the top center of the Program monitor screen. (A Soft border may be added to the P.I.P.)

Step Four: Point your live camera at the playback VCR's monitor and zoom in so that the image actually expands. Also, add a slight amount of de-focusing.

Step Five: Begin scrolling titles from the in-line character generator (between the camera and the MX-50 input). The titles will scroll up into the bottom of the compressed P.I.P.

FLY-ON TITLES (Vol. I, 00:45:47)

Effect: Titles spin, fly, flip, and bounce onto screen over live video. (Layered/double-pass effect)

Step One: With either a stand-alone character generator or a copy stand title card camera, assign it's respective output to an input on the MX-50's A Buss. (Make sure that the titles are black letters over a solid white background.)

Step Two: Assign the matte color white to the B Buss and engage the Panasonic WJ-MX50 Special Mode. Push the Reverse button and the Soft border button in the Wipe Pattern section.

Step Three: Select Special Mode number 2, 3, 4, or 5 and record onto a Submaster Tape the effect of the title card flying, corkscrewing, bouncing, or flipping onto the screen over the white background.

Step Four: Remove the Submaster Tape from your recording VCR and play it back in your #2 playback VCR as you play back your live video source in your #1 playback VCR.

Turn off the Special Mode.

Step Five: Assign your #1 playback VCR to the A Buss and your #2 VCR to the B Buss. Bring the T-Bar up to the A Buss.

Step Six: Turn on the Downstream Key section and push the B button in the Downstream Key section.

Step Seven: As both of your playback VCRs play back, bring the right side Key Level fader up until the fly-on title's letters are clearly superimposed over the live video.

THE HDTV LOOK (Letter Boxing) (Vol. III, 22:23)

Effect: The TV screen has black bars across the top and bottom to emulate the letter-boxed look of feature films and the 16:9 ratio of high definition television.

Step One: Assign your live video source to the A Buss and the matte color black to the B Buss.

Step Two: Push the Split wipe pattern twice and push the Reverse button in the Wipe Pattern section.

Step Three: Bring the T-Bar down to the point where an approximate aspect ratio of 16:9 is revealed.

MULTI-PICTURE OVER VIDEO (Vol. III, 00:27:43)

Effect: The scene begins with a full screen of video from one buss and then the other buss' video comes in over it in the multiple picture fashion.

Step One: Assign your primary picture to the A Buss and the video source that will be "multi-ing in" to the B Buss.

Step Two: Bring the T-Bar down to the B Buss and turn on the Luminance Key mode.

Step Three: Go to the Digital Effect module for the B channel only and set the Time control for the Multi picture display to about the 12 o'clock position.

Step Four: By pushing the Multi picture button either once, twice or three times, you will get 4, 9 or 16 multiple pictures respectively. However, in the black area of the screen that has not yet been filled by a picture, the video source from the A Buss will be revealed by way of the Luminance Key function. Adjust your Slice control as necessary for maximum effect.

MULTIPLE BACKGROUND (Matte) COLORS (Vol. III, 00:23:41)

Effect: Two different matte colors can be used either for combining the two on the same screen via a wipe or for allowing the Panasonic WJ-KB50 Character Generator to use drop shadows or outlines when keyed over a background color.

Step One: This procedure is identical to "Copying A Frozen Picture To Another Buss" (page 13). The only difference is rather than sending a frozen (or still) picture out of the A Buss and then "looping" it back into the B Buss, push Matte on the A Buss and select a matte color of your choosing.

Step Two: Bring the T-Bar up to the A Buss and select your "looping" input on the B Buss.

Step Three: In the Digital Effect module for the B Buss only, press Still and Frame. You have just frozen on the B Buss the matte color emitting from the MX-50 on the A Buss. You may now combine that frozen matte color on the B Bus with another selected matte color on the A Buss.

THE "NIGHT-TIME" LOOK (Vol. III, 00:22:32)

Effect: Even though video footage was shot during the daytime, it can be made to look as if it were actually night time.

Step One: Assign your video source footage to the A Buss and the matte color of blue to the B Buss.

Step Two: Push the Mix button and use the T-Bar to effect a partial dissolve from the A Buss to the B Buss. This will give the video picture a darkened, bluish tint similar to what actual night time footage looks like.

To maximize the effect, use automobiles with headlights turned on bright and avoid scenes that have shadows cast from the sun.

THE "OLD TIME" MOVIE LOOK (Vol. III, 00:05:35)

Effect: Modern day video footage takes on the look of old movie film, complete with flicker, scratches, and bad color.

Step One: Assign video source footage to the A Buss and pre-recorded film static to the B Buss.

Step Two: Press the Mix button and perform a partial dissolve from the A Buss to the B Buss.

Step Three: In the Digital Effect module for the A channel only, press the Strobe button and adjust the Time control so that only a slight amount of strobing exists on the A Buss.

Step Four: Press the A button twice in the Color Correction section and make adjustments with the Chroma and RGB joystick until you have a "sepiatone" type of color that was predominant in the older film movies.

SIMULATED TUMBLES (Vol. II, 00:37:16)

Effect: Picture appears to compress and fly off of the screen, tumbling as it goes. (Layered/double-pass effect)

Step One: Engage the Panasonic MX-50 video mixer Special Mode and call up effect #5 (picture flip).

Step Two: Assign a single video source to both the A Buss and the B Buss. Select the color black in the Matte Generator.

Step Three: Set the Auto-Take transition speed to about 14 and as the point arrives on your source video where you want the tumble illusion to take place, begin tapping the Auto-Take button repeatedly for about five seconds. This entire procedure is recorded onto a Submaster Tape, which is then removed from the recording VCR and placed in a playback VCR.

Step Four: Turn off the Panasonic MX-50 video mixer Special Mode and assign the playback VCR with the Submaster Tape in it to the A Buss.

Step Five: Assign the matte color black to the B Buss and bring the T-Bar up to the A Buss.

Step Six: Press the Compression button, press the Reverse button, and select the square wipe pattern.

Step Seven: Set the Auto-Take transition speed to about 42 and as the portion of the Submaster Tape arrives where it begins flipping from top to bottom, immediately press the Auto-Take button to make the overall picture compress and fly away. Record this effect onto your Edit Master tape.

SIXTEEN DIFFERENT MULTI-PICTURES (Vol. II, 00:04:21)

Effect: Rather than having the same picture cycle through the Multi picture mode sixteen times, sixteen different pictures fill the screen and then stop. (Layered/double-pass effect) Step One: Onto a Submaster Tape, record sixteen different scenes with a duration of about two seconds each. Try to make the duration times as identical as possible.

Step Two: Remove the Submaster Tape from the recording VCR and place it in a playback VCR and assign that video source to the A Buss.

Step Three: As the Submaster Tape plays back through the MX-50, press the Multi picture button in the Digital Effect module three times (the 16 picture multi mode).

Step Four: Adjust the Time control above the Multi button until the cycling speed matches the changing of the two second duration pictures playing back off the Submaster Tape.

Step Five: Once the Time control is set properly, then re-play the Submaster Tape again from the beginning, this time push the Once button (below the Multi button) as soon as the first of the sixteen 2-second long pictures appears. That will begin the cycling from the top and conclude when all sixteen different pictures have filled the screen. You may now record this screen onto your Edit Master tape as you combine it with titles or even a wipe/dissolve to another buss.

(As you may have guessed already, this process works the same way with either 4 or 9 picture Multi’s.)

SPOTLIGHT EFFECT (Vol. I, 00:48:16)

Effect: Certain portions of the video screen are highlighted by way of a "spotlight."

Step One: Assign a single video source to the A Buss and the matte color black to the B Buss.

Step Two: Engage the Positioner joystick and press the square wipe button in the Wipe Pattern section twice. This will give you a circle wipe.

Step Three: Use the T-Bar and the Positioner to size and place the circle wipe over the desired area of the screen.

Step Four: In the Fade Control section, engage Video fade to A and begin bringing the fade slider down from the top until darkened portions of the areas outside the circle wipe appear.

Note: You may add a Soft border to the circle wipe and the background matte color can be one other than black.

TITLE BANNERS (Vol. II, 00:15:34)

Effect: A semi-transparent title box is created in which letters from a character generator are placed. (Virtually just the opposite procedure of the "Spotlight Effect.")

Step One: Assign a video source to the A Buss and a matte color to the B Buss.

Step Two: Engage the Positioner joystick and press the square wipe pattern button in the Wipe Pattern section once to get a box wipe. Also, press the Soft border button if desired.

Step Three: Press the Aspect button and turn the aspect ratio knob to the left to achieve an elongated box wipe.

Step Four: Use the Positioner and T-Bar to place and size the box wipe where you want your titles to appear.

Step Five: In the Fade Control section, engage Video fade to A and begin bringing the fade slider down until the video signal from the A Buss starts to show through the box wipe. Superimpose your titles in the confines of the title banner.

TITLE FEEDBACK (Vol. III, 00:29:55)

Effect: Generated titles on the video screen appear to multiply, enlarge, and go back into infinity.

Step One: Assign a live video camera which is pointed at your main program out video monitor to the A Buss.

Step Two: Key in over the A Buss' signal, titles from your stand-alone character generator or your WJ-KB50.

Step Three: Zoom the camera in on the program out video monitor until an enlarged, multiplied version of the titles appear behind the main title.

THREE-WAY COMPRESSION (Vol. II, 00:22:45)

Effect: A total of three different pictures appear on screen, all three of which are vertically compressed. (Layered/double-pass effect)

Step One: Assign a video source to an input on the A Buss and another video source to an input on the B Buss.

Step Two: Press the Compression button twice to achieve a double-compressed vertical straight wipe.

Step Three: Place the T-Bar half-way between the two busses so that both compressed video sources fill an equal amount of the screen and record this image onto a Submaster Tape.

Step Four: Remove the Submaster Tape from the recording VCR and place it in your #1 playback VCR.

Step Five: Place a completely different video tape source in your #2 playback VCR.

Step Six: Press the Split Wipe button (the 5th button from the left in the bottom of the Wipe Pattern section). Make sure that the Reverse button is off.

Step Seven: Keeping the Compression button turned on, play back both the Submaster Tape and the new tape in the #2 playback VCR simultaneously while adjusting the T-Bar so that the new video source is split-compressed into the middle of the two pre-recorded images from the Submaster Tape. Record this procedure onto your Edit Master tape.

TOASTER WIPE PATTERNS (Vol. I, 00:41:48)

Effect: Wipe patterns are generated on the MX50 that are identical to those created on the Video Toaster. (Layered/double-pass effect)

Step One: Assign a video source to the A Buss and a pre-recorded wipe pattern shape tape to the B Buss.

Step Two: Turn on and select the B button in the Downstream Key section. Also, press Full Matte.

Step Three: Select the matte color blue (with no level boost or gradation).

Step Four: Bring the T-Bar up to the A Buss and begin playing both your video source and the wipe pattern tape.

Step Five: Adjust the Key Level slider in the Downstream Key section so that when a wipe pattern occurs from the wipe pattern tape, it's shape is now colored blue over the video source emitting from the A Buss.

Record this effect onto the Submaster Tape.

Step Six: Remove the Submaster Tape from the recording VCR and place it in the playback VCR that will be assigned to the B Buss (most likely, your #2 playback VCR).

Step Seven: Turn off the Downstream Key section, turn on the Chroma Key mode, and bring the T-Bar down to the B Buss.

Step Eight: Place a new video tape source in your #1 playback VCR and assign it to the A Buss.

Step Nine: As both playback VCRs begin playing back, adjust the Hue and Slice controls so that your new video source (from the A Buss) fills in all of the blue areas that are being played back from the Submaster Tape.

All of the original video source material on the Submaster Tape that is not covered by the blue wipe pattern shape will remain unchanged. You will now have transitions from your original video source to your new video source by way of a Video Toaster wipe pattern. Record this effect onto your Edit Master tape.

TRAILS OVER VIDEO (Vol. III, 00:28:18)

Effect: A compressed video box trails in over existing video rather than just a black background. This effect is identical in procedure to "Multi-Picture Over Video" (page 21).

Step One: Assign your primary picture to the A Buss and the video source that will be "trailing in" to the B Buss.

Step Two: Bring the T-Bar down to the B Buss and turn on the Luminance Key mode.

Step Three: Go to the Digital Effect module for the B channel only and set the Time control for the Trail mode to about the 12 o'clock position.

Step Four: When you normally press the Trail button, the trail boxes come in over a black background. However, since the Luminance Key mode is on, the video source from the A Buss will fill the black background until the Trail boxes trail in over it. Adjust the Slice control as necessary for maximum effect.

TRANSPARENCY FLY-ONS (Vol. III, 00:22:40)

Effect: As one video source flies in over another (via the Special Mode), the fly-in source becomes transparent either at the beginning of the fly-on or at the completion of the fly-on.

Step One: Assign a video source to the A Buss and another video source to the B Buss.

Step Two: Engage the Panasonic MX-50 video mixer Special Mode and select either effect number 2, 3, 4, or 8.

Step Three: In the Fade Control section, engage Video fade to A, or Video fade to B (depending upon which buss is going to be flying in over the other).

Step Four: As you push the Auto-Take button to activate the effect, bring the fade slider in the Fade Control section either partially down or partially up as the effect occurs. The fly-on picture will seem to melt away as it enters or exits the screen.

TWO COMPRESSED P.I.P.s SIDE BY SIDE (Vol. I, 00:50:29)

Effect: Two picture-in-picture boxes, each containing different video sources, appear on screen at the same time. (Layered/double-pass effect)

Step One: Assign a video source to the A Buss and a matte color to the B Buss.

Step Two: Press Compression, Reverse only, and the Square Wipe pattern in the Wipe Pattern section.

Step Three: Engage the Positioner and use it with the T-Bar to place and size a quarter-sized (or smaller) picture-in-picture on one side of the screen. Record this process onto the Submaster Tape.

Step Four: Remove the Submaster Tape from the recording VCR and place it in the playback VCR that will be assigned to an input on the B Buss.

Step Five: Place a new video source tape in your other playback VCR and assign it to an input on the A Buss.

Step Six: Change the input select button on the B Buss from Matte to the input that is delivering the Submaster Tape's signal.

Step Seven: Use the Positioner and T-Bar to place and size the new video source (which is now in the compressed box wipe) on the screen along side the Submaster Tape's compressed box wipe.

TWO-WAY SLIDING VIDEO (Vol. III, 00:27:00)

Effect: A horizontally split screen has multiple video scenes sliding in two different directions. (Layered/double-pass effect). This procedure is very similar to the "A/B Roll Compression Boxes" (page 6) as it requires the recording of two Submaster Tapes.

Step One: Assign one (of a total of four) video source to the A Buss and another to the B Buss.

Step Two: Press the Slide button twice to engage a side to side push slide between the two busses.

Step Three: Set an Auto-Take transition speed of about 40 and record onto one of your Submaster Tapes the effect of the two buss' video sources pushing each other off the screen to the right as you repeatedly press the Auto-Take button after each cycle.

Step Four: Repeat Steps One, Two, and Three as you create a second Submaster Tape containing two more video sources pushing each other off the screen to the left.

Step Five: Place both Submaster Tapes in your two playback VCRs and press the Compression button twice and the straight wipe button (the first one in the bottom row) once. This will create a horizontal straight wipe compression.

Step Six: Place the T-Bar half-way between the two busses and simultaneously play back both Submaster Tapes. You may now record onto your Edit Master this effect of a pair of compressed video sources sliding to the right above a pair of compressed video sources sliding to the left.

UPSTREAM TITLE KEYING (Vol. II, 00:17:58)

Effect: Titles from a stand-alone character generator (C.G.) are superimposed over video without the output signal of the Panasonic MX-50 video mixer having to pass through a C.G., whose electronics could diminish the quality of the video signal.

Step One: Assign a video source to an input on the A Buss and connect the output of a stand-alone C.G. to an input on the B Buss.

Step Two: Set the background color on the C.G. to either black or blue.

Step Three: Bring the T-Bar on the Panasonic MX-50 video mixer down to the B Buss and turn on either the Luminance Key (if your C.G.'s background color is black) or the Chroma Key (if your C.G.'s background color is blue).

Step Four: Adjust the Slice and/or the Hue control as necessary to obtain the cleanest keying effect over the A Buss' video signal.

Note: Some stand-alone character generators have a weak internal sync clock and may require the feed from an external sync to produce stable titles.  If su ch is the case, connect a cable from the MX-50's Black Burst output to the Video In (or Sync In) on the C.G.

VIDEO IN THE WEDDING ALBUM (Vol. I, 00:43:31)

Effect: A video shows a wedding album being opened to reveal a live video source of the actual wedding inside of it.

Step One: Place a piece of black cardboard (about 8" X 10") on the inside front page of a wedding photo album.

Step Two: Videotape a shot of a hand opening the wedding album (which will reveal the black cardboard).

Step Three: Play that videotape back through an input on the B Buss and assign your wedding video footage to an input on the A Buss.

Step Four: Bring the T-Bar down to the B Buss and turn on the Luminance Key mode.

Step Five: Play back both tapes simultaneously and adjust the Slice control as necessary. When the shot of the wedding photo album opens to reveal the black cardboard, the video source footage from the A Buss will appear in the album instead of the black.

THE "VIDEO WALL" (Vol. II, 00:09:26)

Effect: A video source appears to be playing back on a multiple monitor "video wall" display.

Step One: Assign a single video source to the same input on both busses, begin playing that video source, and bring the T-Bar down to the B Buss.

Step Two: Push the Multi picture button three times (16 pictures) and the Once button in the Digital Effect module for the B channel only.

Step Three: Bring the T-Bar up to the A Buss and turn on the Downstream Key section.

Step Four: Press the Full Matte and the B button in the Downstream Key section and select a matte color (such as blue or black) in the Matte Generator section.

Step Five: Bring up the right side Key Level slider slightly to reveal the shape of sixteen squares superimposed over the A Buss' video source.

Step Six: Press the Edge button four times to obtain a heavy drop shadow around the sides of the sixteen squares to give the "Video Wall" illusion more depth.

APPENDIX A- DIGITAL VIDEO MIXER GLOSSARY

A/B Roll - Editing set-up with two source playback VCRs that are combined through a digital mixer via wipes, dissolves, fades, or keying.

Black Burst - A composite video signal that contains sync, reference burst, and a black video signal. Typically used to match sync timing of two or more pieces of video equipment that will be eventually mixed together.

Buss - A video or audio channel to which input signals are directed to be processed.

Chroma Key - A digital mixer effect that keys in an additional source of video over specified background colors.

Composite Video Signal - A single cable carrying all video information (color, luminance, sync, etc.) from one video component to another. Connected with a BNC connector on professional gear; connected with an RCA phono pin plug on consumer gear.

Downstream Key - A keyer that inserts the key after the effects system so that transitions and other effects can take place leaving the downstream key unaffected.

Edit Master - The final product of editing onto a videotape.

Field - One half of a television picture. Two interlaced fields creates one frame of video.

Frame - The total area of a video picture which is scanned while the signal is not blanked (time between each frame). In video, there are 30 frames per second (actually 29.97 per second to be exact).

Frame Synchronizer - A digital buffer that, by storage and comparison of sync information to a reference, and timed release of video signals, can continuously adjust the signal for timing errors. Also, the principal on which Panasonic digital video mixers work: Rather than depending upon genlockable cameras or time-base corrected VCRs, incoming video signals are immediately converted from analog to digital and it is in the digital domain that these signals can be mixed and/or processed.

Layering - The process of combining effects through multiple stages.

Luminance Key - A digital mixer effect that keys in an additional source of video over dark or black portions of a picture.

Mix - Dissolve or cross-fade.

N.A.M. - Non-Additive Mix. A cross-fade that equally combines the respective portions of two busses or video signals that have the highest luminance value.

Program Out - The final product of a digital video mixer that goes on to an editing VCR or Program Monitor.

Program Monitor - A TV monitor that displays either the output of an editing VCR or the output of the digital video mixer.

Submaster Tape - A video tape that is used in the editing process but is not the final product. Typically the 2nd generation of the editing stages: The Camera Master is the 1st generation, the Submaster is the 2nd, the Edit Master is the 3rd, the Dub Master (or Safety Master) is the 4th, and the client's copy often is the 5th generation.

T-Bar - (Transition Bar) Used to switch a digital video mixer from one buss, or channel, to another. Also called a "T-Bar" because of it's shape.

Time Base Corrector - A video signal processing device that corrects the irregularities that occur during VCR playback. Differs from a frame synchronizer in that it digitally "grabs" one line of video, stabilizes it, strips off the old sync information, adds new perfectly-timed sync information, often times compensates for video tape drop-outs, and then "spits out" the line in time to grab and process another. Many time-base correctors also contain a frame synchronizer, however, frame synchronizers should not be misconstrued as time-base correctors, even though digital mixers such as the Panasonic MX-50, MX-30, AVE-7 and AVE-5 can be used to feed TBC-required inputs such as the Video Toaster and satellite feeds.

Y/C - A combination of video signals that connect the inputs and outputs of video equipment in which the luminance ("Y"), or brightness portion of the signal, and the chrominance ("C"), or color portion of the signal, travel through two separate lines which are typically encased in one cable. The separation of these two components results in less cross-talk between the two and higher resolution in video formats such as Super-VHS, Hi-8, and ED Beta. Also referred to as "S-Video."

INDEX TO THE MX-50: SHAKEN. NOT STIRRED. Video Tape Series.

The following time references indicate the tape location of a specific topic/effect on all three volumes of the MX-50 instructional video series assuming that your tape counter has been reset to zero at the very beginning of each tape.

Volume I

02:55 Panasonic MX-50 Overview
03:43 Panel Layout
03:48 Positioner Joystick
03:54 Scene Grabber
04:11 Color Corrector
04:39 LED Display Window
04:56 Matte Generator
05:21 Memory/Memory Clear
06:25 Special Mode
08:34 Program Out
09:05 Wipe Pattern Section
09:34 Wipe Borders
10:19 One-Way/Reverse
10:42 Compression
11:33 Slide
12:05 Multi
12:34 Pairing
12:50 Blinds
13:06 Aspect Ratio
13:35 Basic Wipe Patterns
14:51 Jog & Shuttle
16:45 Digital Effect Overview
17:32 Negative
17:42 Mosaic
18:05 Mono
18:12 Paint
18:22 Still/Frame
19:02 Strobe
19:22 Mulit-Picture
20:01 Trail
20;21 A/V Synchro
20:43 Downstream Key
22:17 KB-50 C.G.
23:30 Panasonic AG-455 Review
26:11 Source Input Section
26:28 T-Bar/Auto-Take
27:00 Mix Select Mode
27:04 N.A.M. Select Mode
27:15 Audio Follow
27:46 Luminance Key
28:19 Chroma Key
29:54 Fade Control Section
30:15 Fade To A / B
30:45 Auto Fade
30:51 Audio Mix Section
31:12 Rear Jack Panel
33:09 Advance Sync
33:42 Advance Ref.
35:13 Preview Out
36:06 GPI Port
36:16 Main Power
36:39 Jog & Shuttle
37:42 Panasonic MX-50 Digital Video Mixer vs. Others
39:06 Panasonic MX-50 Digital Video Mixer vs. Toaster
41:48 Toaster Wipes On MX-50
42:52 MX-50 Stabilization
43:31 Video In Wedding Album
43:49 Scene Grab Tricks
44:05 Chroma Key Doubling
45:22 Chroma Key Blue Cloth
45:47 Fly-On Titles
46:23 Color Monitor Align.
48:16 Spotlight Effect
48:43 Input/Buss Switching
49:49 Outboard Audio Mixers
50:05 Stills In Compression
50:29 2 Compression Pictures
50:53 Auto-Take Interrupt
51:07 Color Key/B&W Background
51:33 Combined Trail FX
51:45 2 Buss Multi Mixing
52:03 Combo Multi/Comp. FX
52:25 C.G. through DSK
53:25 Disappearing Chroma Key
53:37 Audio Mixer Settings
54:00 Panasonic MX-50 Size & Price
54:43 After Image
55:13 "Poor Man's TBC"

Volume II

02:31 Color Blocking
03:36 Comp. Circle/Oval/Diamond
04:21 16 Different. Pictures/One Screen
06:13 In-Depth Memory Section
09:26 Video Wall
10:26 Drop Shadow Boxes
11:58 Drop Shadow Backgrounds
19:04 Live Switching with the Panasonic MX-50
15:34 Title Banners
16:28 A/B Roll Flip
17:30 3 Live Sources
17:58 Upstream Title Keying
20:04 Panasonic MX-30 Digital Video Mixer Review
22:45 3-Way Compression
23:20 Glitch-Free Freeze Edits
24:13 Memorizing Trails
24:36 GPI Trigger:810 & A750
25:30 Elect. Photo Scrolling
25:59 Four Toaster Wipes
30:42 Compression Looping
33:13 3-Chip Camcorder Review
36:25 Black Level Adjustment
37:16 Simulated Tumbles

Volume III

04:17 Comet-Tail Fly-Ons
05:35 "Old Time" Movie Look
06:33 Buss Select LED Lights
06:57 RS-232C ("COMIX")
12:17 Video Expansion
15:05 VCP Set Tour
16:58 Chroma Key Tips (Studio)
19:13 Chroma Key Tips (Field)
20:00 A/B Roll Scrolling Boxes
21:05 Trail Interrupt
21:13 Frame On = Hi. Resolution
21:23 "HDTV" (Letter-boxing)
21:32 "Night-Time" Look
21:40 Transparency Fly-Ons
21:46 Scene Grabber Masking
22:00 Edit Contr. Sync In
22:12 Sliding Multi Pictures
22:17 RCA-XLR Connector
22:41 Multiple Matte Colors
24:33 Animation/Luminance Key
26:00 2-Way Sliding Video
27:18 Trails Over Video
27:50 KB-50 Tips & Tricks
28:55 Title Feedback
29:16 Program Out Switching
29:36 Scene Grab Of Multi
29:51 Copying Frozen Pictures
30:03 Recovering Lost Still
30:27 Double Screen Trails
31:01 2 Camera Chroma Key
33:00 Film Static