The software has the capability to cross fade between all four layers using the intensity channel. The preview feature allows complete, independent preview of content on a local monitor before sending it to the output device. Video Montage using the four layers allows the programmer to use scaling and positioning functions to create virtual scenery or montages. Masking offers comprehensive masking and keying functions for overlay effects, both alpha channel and black and white key effects are available. 3D Effects allow the programmer to wrap content onto different shaped 3D objects such as spheres or cubes. These objects are then fully controllable in 3D space for size, position and rotation. Spectrograph enables input of audio into the media server. The audio input creates visual waveforms that can be sent to video output devices such as the DL1 fixture, allowing the user to "see the sound."
Recently the Catalyst solved the following dilemma. With Tom Petty and The Heartbreakers, Avril Lavigne, Jewel, Michelle Branch, Tim McGraw, Beyonce, Michael Jackson and more top artists all sharing one set, each with a distinct style, how do you accommodate them all? You create a virtual set.
LD Allen Branton and production designer John Calkins did just that. They used the Catalyst Version 3 Media Servers and DL1 digital light fixture to create a virtual set for the Radio Music Awards which aired in October on NBC-TV live from Las Vegas. Digital media gave them the flexibility they needed to change the look of the set from one artist to another. Christian Choi, lighting director and Catalyst visual effects producer said: " The functionality has exponentially increased in the new version and all of the effects channels were so well conceived that it really marries technology to art. This was a living, breathing Catalyst set. The crossfade feature is an invaluable tool in the video world, everybody wants dissolves, and Catalyst Version 3 gives you that ability, it enables you to play with multiple layers, masking out different parts, using up to four videos at once. That's really a cool thing to do, because it allows you to recycle old art. The software was completely bullet proof -- very reliable. I put it through some paces, and pushed the limits, it held up great during the show."
Following suggestions from Branton and Calkins, Choi shot most of the show's video content, focusing on close ups of movie props, metal pieces, odd industrial structures, control panels and speakers. He then edited it and applied some effects on it, using dissolves, different colors and the 3D effects. Christian Sariol handled the graphic content, which either ran on its own or layered with video. The set featured three screens, with rear-projection - provided by American High Def. Behind each screen were the Catalyst Media Servers. In addition six DL1s outfitted with Version 3 software, added effects on the front truss behind the presenters.
VLPS provided lighting, including 26 HES Studio Color 575s in the assorted moving light package. The company also supplied the Wholehog II console, Catalyst Media Servers, VLPS Content Library and production services. HES supplied the DL1s.
(Sarah Rushton-Read)
