7800/7700 MultiFrame Manual

7812 Series HDTV Up/Down/Cross Converters with Embedded Compact Flash

TABLE OF CONTENTS
1. OVERVIEW.......................................................................................................................................... 1
1.1. FUNCTIONAL DESCRIPTION ................................................................................................... 3
1.2. PRODUCT OPTIONS ................................................................................................................. 6

2. INSTALLATION................................................................................................................................... 9
2.1. INPUT/OUTPUT CONNECTIONS............................................................................................ 15
2.2. ETHERNET CONNECTIONS ................................................................................................... 15
2.3. GPIO CONNECTOR................................................................................................................. 17
2.4. AES INPUTS ............................................................................................................................ 18
2.5. AES OUTPUTS ........................................................................................................................ 19

3. SPECIFICATIONS............................................................................................................................. 21
3.1. SERIAL DIGITAL VIDEO INPUT ............................................................................................. 21
3.2. SERIAL DIGITAL VIDEO OUTPUT ......................................................................................... 21
3.3. REFERENCE VIDEO INPUT.................................................................................................... 21
3.4. GENERAL PURPOSE INPUTS AND OUTPUTS..................................................................... 21
3.5. AES INPUTS ............................................................................................................................ 22
3.6. AES OUTPUTS ........................................................................................................................ 22
3.7. ELECTRICAL ........................................................................................................................... 22
3.8. PHYSICAL................................................................................................................................ 22

4. STATUS LEDS .................................................................................................................................. 23

4.1. MODULE STATUS LEDS –AES8 VERSION AND NON –AES8 VERSIONS ......................... 23

5. MODULE CONTROL......................................................................................................................... 25
5.1. CONTROL CATEGORIES ....................................................................................................... 25
5.2. CONFIGURING THE VIDEO CONTROLS............................................................................... 28
5.2.1. Video Control ................................................................................................................ 29
5.2.1.1. Setting the Input Video Standard .................................................................... 29
5.2.1.2. Setting the Output Video Standard ................................................................. 30
5.2.1.3. Selecting The Video Input Source................................................................... 30
5.2.1.4. Setting the SD Blanking .................................................................................. 31
5.2.1.5. Selecting the Video Reference Source ........................................................... 31
5.2.1.6. Setting the Vertical Phase of the Output Video............................................... 31
5.2.1.7. Setting the Horizontal Phase of the Output Video........................................... 32
5.2.1.8. Setting the 3G Dual Link Swap ....................................................................... 32
5.2.1.9. Loss of Video Mode ........................................................................................ 33

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5.2.1.10. FS Only Mode ................................................................................................. 33

5.2.1.11. Selecting the VITC Reader and VITC Writer Lines ......................................... 33
5.2.1.12. Time Code Source .......................................................................................... 34
5.2.2. Video Monitor ................................................................................................................ 34
5.2.2.1. Main PGM IN BNC Video Standard ................................................................ 34
5.2.2.2. Backup PGM IN BNC Video Standard ............................................................ 34
5.2.2.3. Input Video BNC ............................................................................................. 34
5.2.2.4. Video Payload ID ............................................................................................ 34
5.2.2.5. External Genlock Standard ............................................................................. 34
5.2.2.6. Video Delay..................................................................................................... 34
5.2.2.7. CDP Parser ..................................................................................................... 34
5.2.3. AFD Monitor .................................................................................................................. 35
5.2.3.1. Input AFD Code Status ................................................................................... 35
5.2.3.2. Output AFD Code Status ................................................................................ 35
5.3. CONFIGURING THE AUDIO SETTINGS................................................................................. 36
5.3.1. Audio Control Settings................................................................................................... 37
5.3.1.1. Selecting The Audio Delay.............................................................................. 37
5.3.1.2. Configuring the SRC Mode ............................................................................. 37
5.3.1.3. Selecting The Audio Groups That Will Be Embedded .................................... 38
5.3.1.4. Configuring the C-Bit Control .......................................................................... 38
5.3.1.5. Configuring the DMX Loss of Video Mode ...................................................... 39
5.3.2. Audio Monitor Settings .................................................................................................. 39
5.3.2.1. SRC Status ..................................................................................................... 39
5.3.2.2. Audio Delay..................................................................................................... 39
5.3.2.3. Video Delay..................................................................................................... 39
5.4. CONFIGURING THE AUDIO INPUT CONTROLS................................................................... 40
5.4.1. Audio Input Pair Select Options .................................................................................... 40
5.4.1.1. Configuring the Audio Source for Input Channel 1 and 2................................ 40
5.4.1.2. Configuring the Audio Source for Input Channel 3 and 4................................ 41
5.4.1.3. Configuring the Audio Source for Input Channel 5 and 6................................ 41
5.4.1.4. Configuring the Audio Source for Input Channel 7 and 8................................ 41
5.5. CONFIGURING THE AUDIO PROC CONTROLS ................................................................... 42
5.5.1. Source X........................................................................................................................ 43
5.5.2. Gain Adjust X ................................................................................................................ 44
5.5.3. Invert Enable X.............................................................................................................. 44
5.5.4. Source Y........................................................................................................................ 44
5.5.5. Gain Adjust Y ................................................................................................................ 45
5.5.6. Invert Enable Y.............................................................................................................. 45
5.6. CONFIGURING THE DEINTERLACER ................................................................................... 46
5.6.1. Setting the Deinterlacer Mode....................................................................................... 46
5.6.2. Setting the DeInterlacer Type........................................................................................ 47
5.6.3. Setting the IFMD Mode ................................................................................................. 47
5.6.4. Setting the IFMD Threshold .......................................................................................... 47
5.6.5. Setting the Film Detection Mode ................................................................................... 48
5.7. CONFIGURING THE VIDEO PROCESSING FUNCTIONS ..................................................... 49
5.7.1. Enabling RGB Clipper ................................................................................................... 50
5.7.2. Setting the Gain Levels ................................................................................................. 50
5.7.3. Setting the DC Offsets................................................................................................... 50
5.7.4. Setting the Hue.............................................................................................................. 50

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5.7.5. Enabling Gamma Adjust................................................................................................ 51

5.7.6. Setting the Gamma Level.............................................................................................. 51
5.7.7. Setting the Red, Green, Blue Gamma Levels ............................................................... 51
5.7.8. Reset Button ................................................................................................................. 51
5.8. CONFIGURING THE SCALER ................................................................................................ 52
5.8.1. Slew Settings ................................................................................................................ 53
5.8.1.1. Slew Limits ...................................................................................................... 53
5.8.2. Set the Colour of the Letterbox Panels ......................................................................... 53
5.8.3. Filter Settings ................................................................................................................ 53
5.8.3.1. Setting the Scaler Filter Sharpness................................................................. 53
5.8.4. AFD Stamp.................................................................................................................... 54
5.8.5. Conversion Settings ...................................................................................................... 55
5.8.5.1. Setting the Aspect Ratio Conversion .............................................................. 55
5.8.5.2. User Aspect Ratio Setting ............................................................................... 57
5.9. CONFIGURING CLOSED CAPTIONING................................................................................. 59
5.9.1. Enabling Closed Captioning .......................................................................................... 59
5.9.2. Setting the HD Write Line.............................................................................................. 60
5.9.3. Setting the Loss of CC Timeout .................................................................................... 60
5.9.4. Setting the Caption Services in CEA708....................................................................... 60
5.10. UTILITIES................................................................................................................................. 61
5.10.1. Storing and Recalling Configurations to the User Presets or the Factory Preset.......... 61
5.10.1.1. Recalling Configurations from the User Presets ............................................. 61
5.10.1.2. Storing Configurations from the User Presets................................................. 62
5.10.1.3. Auto Recall Presets for Specific Video Input/Output Standard
Combination .................................................................................................... 62
5.11. CONFIGURING THE SD APERTURE CONTROL................................................................... 63
5.11.1. Selecting Ap Aspect Ratio Source ................................................................................ 64
5.11.1.1. Ap Aspect Ratio Settings ................................................................................ 64
5.12. CONFIGURING THE IMAGE ENHANCEMENT CONTROL.................................................... 65
5.12.1.1. Image Enhancement Enable........................................................................... 65
5.12.2. Setting the Detail Gain .................................................................................................. 66
5.12.3. Setting the Enhancement Limit ..................................................................................... 66
5.12.4. Setting the Horizontal Band .......................................................................................... 66
5.12.5. Setting the Vertical Intensity.......................................................................................... 66
5.12.6. Setting the Luma Floor .................................................................................................. 66
5.12.7. Setting the Detail Noise Floor ....................................................................................... 66
5.13. CONFIGURING THE AFD CONTROL ..................................................................................... 67
5.13.1. Configuring the AFD Input Enable Control .................................................................... 67
5.13.2. Setting the Loss of AFD Mode Control.......................................................................... 68
5.13.3. Setting the AFD Stamp Source ..................................................................................... 68
5.13.4. Setting the Output SD Aspect Ratio .............................................................................. 68
5.13.5. Configuring the AFD Output Enable Control ................................................................. 69
5.13.6. Setting the AFD Output Line ......................................................................................... 69
5.14. CONFIGURING THE AFD ARC CONTROLS .......................................................................... 69
5.14.1. Setting the AFD Select .................................................................................................. 71
5.14.2. Setting the AFD Stamp.................................................................................................. 72
5.14.3. Conversion Settings ...................................................................................................... 73
5.14.3.1. Setting the Aspect Ratio Conversion .............................................................. 73

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5.15. CONFIGURING THE NOISE CONTROLS ............................................................................... 75

5.15.1. Setting the Noise Reduction Levels .............................................................................. 76
5.16. CONFIGURING THE SCTE104................................................................................................ 76
5.16.1. Enabling the SCTE104 Control ..................................................................................... 77
5.16.2. Setting the Line Out....................................................................................................... 77
5.17. SETTING THE CC FAULT TRAP CONTROLS ....................................................................... 78
5.18. SETTING THE AUDIO/VIDEO TRAPS .................................................................................... 79
5.19. CONFIGURING THE GPIO CONTROLS ................................................................................. 80
5.19.1. Recall Presets via GPIs................................................................................................. 81
5.19.2. Play Logo Settings ........................................................................................................ 82
5.19.3. Play Logo Loop Settings ............................................................................................... 82
5.19.4. Tally Logo Settings........................................................................................................ 83
5.19.5. Tally Preset Settings ..................................................................................................... 83
5.20. CONFIGURING THE AUDIO 5.1 DOWN MIX CONTROLS..................................................... 84
5.20.1. Setting the Source Select Controls ............................................................................... 84
5.20.2. Setting the Down Mix Type Controls ............................................................................. 85
5.20.2.1. Setting the Output Scaling Mode .................................................................... 85
5.20.2.2. Setting the Output Gain................................................................................... 85
5.20.2.3. Setting the LFE Mixing Control ....................................................................... 86
5.20.2.4. Setting the Surround Phase Control ............................................................... 86
5.20.2.5. Setting the Down Mix Type Control................................................................. 86
5.20.2.5.1. Custom Down Mix Type Control Settings .................................................... 87
5.21. CONFIGURING THE DOLBY METADATA ENCODER CONTROLS ..................................... 88
5.21.1. Setting the Out Enable Control...................................................................................... 88
5.21.1.1. Setting the Output Line Control....................................................................... 88
5.21.1.2. Setting the Output DID Control ....................................................................... 89
5.21.1.3. Setting the SDID Control ................................................................................. 90
5.21.1.4. Setting the Program Config Control ................................................................ 90
5.21.1.5. Setting the Method Control ............................................................................. 91
5.22. CONFIGURING THE DOLBY METADATA CONTROL PROGRAMS..................................... 92
5.22.1. Setting the Bitstream Mode ........................................................................................... 93
5.22.2. Setting the Centre Mix Level ......................................................................................... 94
5.22.3. Setting the Surround Mix Level ..................................................................................... 94
5.22.4. Setting the Surround Mode ........................................................................................... 94
5.22.5. Setting the Dialnorm Control ......................................................................................... 95
5.22.6. Setting the Audio Prod Info ........................................................................................... 95
5.22.7. Setting the Mix Level ..................................................................................................... 96
5.22.8. Setting the Room Type.................................................................................................. 96
5.22.9. Setting the Copyright..................................................................................................... 96
5.22.10.Setting the Original Bitstream ...................................................................................... 97
5.22.11.Setting the Preferred Down Mix ................................................................................... 97
5.22.12.Setting the Lt/Rt Centre Down Mix............................................................................... 97
5.22.13.Setting the Lt/Rt Surround Control ............................................................................... 98
5.22.14.Setting the Lo/Ro Centre Control ................................................................................. 98
5.22.15.Setting the Lo/Ro Surround Control ............................................................................. 99
5.22.16.Setting the Dolby Surround EX Control........................................................................ 99
5.22.17.Setting the DC Filter Control ...................................................................................... 100
5.22.18.Setting the Lowpass Filter Control ............................................................................. 100

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5.22.19.Setting the LFE Lowpass Filter Control ..................................................................... 100

5.22.20.Setting the Surround Phase Shift Control .................................................................. 101
5.22.21.Setting the Surround 3dB Attenuation Control ........................................................... 101
5.22.22.Setting the RF Overmod Protect Control ................................................................... 102
5.22.23.Setting the RF Mode .................................................................................................. 102
5.22.24.Setting the Line Mode ................................................................................................ 103
5.22.25.Setting the Audio Coding Mode ................................................................................. 104
5.23. CONFIGURING THE UP MIX CONTROL .............................................................................. 104
5.23.1. Setting the Centre Width ............................................................................................. 104
5.23.2. Setting the Surround Depth......................................................................................... 105
5.23.3. Setting the Up Mix Surround Delay ............................................................................. 105
5.23.4. Setting the Source Select Control ............................................................................... 105
5.23.5. Setting the LFE Gain ................................................................................................... 105
5.23.6. Setting the Sound Direction Detect Rate..................................................................... 106
5.24. CONFIGURING THE PANEL LOGO ..................................................................................... 106
5.25. CONFIGURING THE IP CONTROL TAB............................................................................... 107

6. JUMPERS........................................................................................................................................ 108
6.1. SELECTING WHETHER LOCAL FAULTS WILL BE MONITORED
BY THE GLOBAL FRAME STATUS ..................................................................................... 108
6.2. CONFIGURING THE MODULE FOR FIRMWARE UPGRADES ........................................... 109
6.3. SELECTING WHETHER THE GENLOCK REFERENCE INPUT IS TERMINATED ............. 109
6.4. 7812 Series “Slot Blocker” .................................................................................................. 110

7. VISTALINK® REMOTE MONITORING/CONTROL ......................................................................... 111

7.1. WHAT IS VISTALINK®? .......................................................................................................... 111
7.2. VISTALINK® MONITORED PARAMETERS............................................................................ 112
7.3. VISTALINK® CONTROLLED PARAMETERS......................................................................... 112
7.4. VISTALINK® TRAPS ............................................................................................................... 119

8. MENU QUICK REFERENCE........................................................................................................... 120

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Figures
Figure 1-1: 7812UDX Block Diagram (-HD, -3G and –AES8 Versions) ............................................................... 4
Figure 1-2: 7812UC-HD Block Diagram (-HD, -3G and –AES8 Versions) ........................................................... 4
Figure 1-3: 7812HDC Block Diagram (-HD, -3G and –AES8 Versions) ............................................................... 5
Figure 2-1: 7812UDX-HD & 7812UDX-AES8-HD Rear Panels............................................................................ 9
Figure 2-2: 7812UDX-3G & 7812UDX-AES8-3G Rear Panels........................................................................... 10
Figure 2-3: 7812UC-3G & 7812UC-AES8-3G Rear Panels ............................................................................... 11
Figure 2-4: 7812UC-HD & 7812UDX-AES8-HD Rear Panels ............................................................................ 12
Figure 2-5: 7812HDC-3G & 7812HDC-AES8-3G Rear Panels .......................................................................... 13
Figure 2-6: 7812HDC-HD & 7812HDC-AES8-3G Rear Panels.......................................................................... 14
Figure 2-7: Colour Code Wiring for the Current RJ 45 Standards ...................................................................... 16
Figure 2-8: GPI Input Circuitry ............................................................................................................................ 17
Figure 2-9: GPO Output Circuitry........................................................................................................................ 18
Figure 4-1: Status LEDs ...................................................................................................................................... 23
Figure 5-1: Video Tab.......................................................................................................................................... 28
Figure 5-2: Internal 7812 Series Audio Architecture ........................................................................................... 36
Figure 5-3: Audio Tab.......................................................................................................................................... 37
Figure 5-4: Audio Input Tab................................................................................................................................. 40
Figure 5-5: Audio Proc Ch1-Ch4 Tab.................................................................................................................. 42
Figure 5-6: DeInterlacer Control Tab .................................................................................................................. 46
Figure 5-7: Video Proc Tab ................................................................................................................................. 49
Figure 5-8: Scaler Tab......................................................................................................................................... 52
Figure 5-9: Pictorial Representation.................................................................................................................... 55
Figure 5-10: Aspect Ratio Conversion ................................................................................................................ 57
Figure 5-11: Image Cropping and Output Image Size ........................................................................................ 58
Figure 5-12: CC Control Tab............................................................................................................................... 59
Figure 5-13: Utilities Control................................................................................................................................ 61
Figure 5-14: SD Aperture Control Tab ................................................................................................................ 63
Figure 5-15: SD Aperture Control ....................................................................................................................... 64
Figure 5-16: Image Enhancement Tab ............................................................................................................... 65
Figure 5-17: AFD Control Tab............................................................................................................................. 67
Figure 5-18: AFD ARC Tab ................................................................................................................................. 70
Figure 5-19: AFD Select...................................................................................................................................... 71
Figure 5-20: AFD Code Description .................................................................................................................... 72
Figure 5-21: Conversion Screen ......................................................................................................................... 73
Figure 5-22: Noise Control Tab........................................................................................................................... 75
Figure 5-23: SCTE104 Tab ................................................................................................................................. 76
Figure 5-24: CC Fault Traps Tab ........................................................................................................................ 78
Figure 5-25: Audio/Video Traps Tab ................................................................................................................... 79
Figure 5-26: GPIO Tab........................................................................................................................................ 80
Figure 5-27: Audio 5.1 Down Mix Tab................................................................................................................. 84
Figure 5-28: Dolby Metadata Encoder Tab ......................................................................................................... 88
Figure 5-29: Dolby Metadata Control – Program 1 & 2 Tab ............................................................................... 92
Figure 5-30: Up Mix Control Tab....................................................................................................................... 104
Figure 5-31: Logo Controls ............................................................................................................................... 107
Figure 5-32: IP Control ...................................................................................................................................... 107
Figure 6-1: Location of Jumpers – Top View Main Module .............................................................................. 108
Figure 6-2: Location of Jumpers – Bottom View Main Module ......................................................................... 108
Figure 6-3: Slot Blocker..................................................................................................................................... 110

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Tables
Table 1-1: Control Interface Differences Between 7812 Converters Depending on Product Variation/Ordering
Options ..................................................................................................................................................................8
Table 2-1: GPIO Connector Pinout .....................................................................................................................17
Table 2-2: AES Input Audio Connector Pinout....................................................................................................18
Table 2-3: AES Audio Input Breakout Cable (Evertz Part # WPAES8-BNCM-6F) .............................................19
Table 2-4: AES Output Audio Connector Pinout .................................................................................................19
Table 2-5: AES Audio Output Breakout Cable (Evertz Part # WPAES8-BNCM-6F) ..........................................20
Table 7-1: VistaLINK® Monitored Parameters...................................................................................................112
Table 7-2: VistaLINK® Controlled Parameters ..................................................................................................119
Table 7-3: VistaLINK® Controlled Parameters ..................................................................................................119

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REVISION HISTORY
REVISION DESCRIPTION DATE

1.0 First Release Sept 08

1.1 Expanded manual to cover all variations of the 7812 series products Jan 09
(UDX, UC and HDC versions)

1.2 Updated Ethernet section Jan 09

Information contained in this manual is believed to be accurate and reliable. However, Evertz assumes no responsibility for the use thereof nor for
the rights of third parties, which may be affected in any way by the use thereof. Any representations in this document concerning performance of
Evertz products are for informational use only and are not warranties of future performance, either expressed or implied. The only warranty offered
by Evertz in relation to this product is the Evertz standard limited warranty, stated in the sales contract or order confirmation form.

Although every attempt has been made to accurately describe the features, installation and operation of this product in this manual, no warranty is
granted nor liability assumed in relation to any errors or omissions unless specifically undertaken in the Evertz sales contract or order confirmation.
Information contained in this manual is periodically updated and changes will be incorporated into subsequent editions. If you encounter an error,
please notify Evertz Customer Service department. Evertz reserves the right, without notice or liability, to make changes in equipment design or
specifications.

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1. OVERVIEW
The 7812 series of products are Broadcast Quality Up/Down/Cross Converters that convert between
common SD/SMPTE 259M and HD/SMPTE 292M video signals. The 7812UDX-HD and 7812UDX-AES8-
HD have full up/down/cross conversion capabilities whereas the 7812UC-HD/7812UC-AES8-HD have up-
conversion capabilities and the 7812HDC-HD/7812HDC-AES8-HD have down-conversion capabilities.
The following table outlines the basic functionality provided by each module. Note that with the –3G
versions of these cards, convert between SD/SMPTE 259M, HD/SMPTE 292M and single link/dual link
1920x1080p59.94/50 video signals that are supported*.

HD to HD HD to HD
Module SD to HD HD to SD SD to SD
(Different (Same
(Same format)
format) format)
7812UDX
7812UDX-AES8-HD
● ● ● ● ●
7812UDX-3G
7812UDX-AES8-3G
7812UC-HD
7812UC-AES8-HD OUTPUTS
● OUTPUTS BLACK ● Input to output
7812UC-3G BLACK
7812UC-AES8-3G bypass only
7812HDC
7812HDC-AES8-HD OUTPUTS ● Input to output
●
7812HDC-3G BLACK OUTPUTS BLACK bypass only
7812HDC-AES8-3G

This manual will serve to cover the 7812UDX, the 7812UC and the 7812HDC base products as well as the
–AES8 and –3G versions of these cards.

All 7812 series modules include integrated frame synchronization capabilities and have an external
Genlock input for adjusting output video timing. In addition, the cards support FRAME REFERENCE
inputs as supported on the 7700FR-G and the 7800FR. Upon loss of an input signal, the integrated frame
synchronizers may be set to FREEZE on the last frame of good video or to output BLACK video or BLUE
video. The 7812 series of converters incorporate a new generation of signal processing technology.
Advanced Mosquito Noise Reduction (MNR) and Block Artifact Reduction (BAR) are supported in addition
to per pixel motion adaptive spatial-temporal noise reduction. The 7812 series also incorporates new de-
interlacing technology that features:

• Pixel adaptive motion processing that maintains maximum vertical resolution

• Advanced directional edge interpolation that minimizes “jaggies” typically seen when
converting interlaced video to progressive video

• Advanced film mode processing that delivers mathematically lossless de-interlacing of video
content with embedded 3:2 and 2:2 pull-down

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The 7812 series supports broadcast quality scaling resources and provides standard as well as completely
user defined aspect ratio conversions. In addition, these modules support AFD based steering of aspect
ratio conversions and can re-stamp AFD signals on the output video. AFD driven transitions between
particular ARC modes are frame accurate and glitch free. These modules support automatic colour space
conversion (ITU rec. 709 ↔ ITU rec. 601) as appropriate for the particular conversion being performed.
With the +F option, signals supplied to the second program input (PGM IN B) can be keyed into the un-
used portions of the output image raster (ie. side panels typically generated when converting 4:3 to 16:9).
When operating in this mode, the FILL input signals are automatically frame synchronized so that pre-
timing of FILL input signals are not required. With the +CF2G option, internal compact flash (up-loaded
using the card’s Ethernet port), static or animated side panels can be stored directly on the card and
keyed into the image side-panels. Up to 7 seconds of side panel animation can be supported. Evertz’s
Overture Media Designer and Overture Media Manager software package is used to generate side panel
animations and load content into 7812 series modules.

Wide range YCrCb/RGB video proc capabilities are integrated into the 7812 series products. These
include YCbCr gain and offset controls in addition to RGB based gain/colour legalization/gamma
correction capabilities. Video level, Hue and Saturation controls are also available.

The 7812 series products support 16 channels of embedded audio. Embedded audio is processed so
audio delay matches video delay. Additional audio delay (up to +100ms) is also available. Full audio proc
capabilities are supported including per channel audio gain, audio routing/channel swapping and inversion
control. Surround sound (5.1 PCM) to stereo down-mixing is supported (Lt/Rt or LoRo). The -AES8
versions of 7812 series modules 8x discrete AES inputs and supports 8x AES outputs. AES outputs carry
the same audio that is being embedded. On –AES8 versions, stereo to 5.1 up-mixing is also supported
with the +UMX option.

Summary of 7812 Series Features:

• Broadcast quality up/down/cross conversions between common SD/SMPTE 259M and HD/SMPTE
292M video formats
• Optional support to convert to/from common 1080p/59.94 signal formats (-3G versions)
• Integrated frame sync capabilities and external reference input for phasing of output video
• Support for 7700FR-G and 7800FR FRAME REFERENCE inputs
• Upon loss of video frame syncs may set to FREEZE mode or output black or blue video
• Evertz proprietary detail enhancement for optimum picture sharpness
• Leading edge video noise reduction technologies:
‰ 3D pixel adaptive spatial-temporal noise reduction
‰ Mosquito Noise Reduction (MNR)
‰ Block Artifact Reduction (BAR)
• Leading edge de-interlacing technologies:
‰ Pixel adaptive motion processing to maintain maximum vertical resolution
‰ Advanced directional edge interpolation to minimize “jaggies” typically seen when
converting interlaced video to progressive video
‰ Advanced film mode processing for mathematically lossless de-interlacing of video content
with embedded 3:2 and 2:2 pull-down
• Wide range video proc functions including both RGB gains and YCrCb gains/offsets
• Internal RGB colour legalizer
• Overall and per component RGB video gamma correction controls
• Support for keying live FILL input signals from second program input into image side-panels (+F)
• Optional compact flash for on card storage of static or animated side-panel content (+CF2G)
• Dedicated Ethernet port for up-loading internal compact flash

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• Supports all required colour space conversions (rec. 601 to 709)

• Supports standard and user defined aspect ratio conversions
• Fully AFD enabled with frame accurate and glitch free AFR driven transitions between ARC modes
• Supports 8 external AES inputs and 8 AES outputs (-AES8 version only)
• Audio delay tracks video delay
• Full audio proc and channel swapping
• Stereo to 5.1 surround sound up-mix (+UMX)
• 5.1 surround sound to stereo (Lt/Rt and Lo/Ro) down-mix
* References to 3G, SMPTE 424M/SMPTE 425 and single link 1080p59.94/50 refer 10 bit 4:2:2 1080p59.94/50 signals (Level A or B in SMPTE 425M)
References to dual link 1080p59.94/50 refer to SMPTE 372M mapping for 1080p59.94/50 4:2:2 10 bit data format only.
When set to output 372M dual link, PGM OUT1/2 are assigned for LINK A and PGM OUT3 is assigned to LINK B output.
Initial release will not support +CF option for 1080p59.94/50 output signals

1.1. FUNCTIONAL DESCRIPTION

SD or HD video can be supplied to the PGM A or PGM B input. Either PGM A or PGM B may be selected
for video processing and up/down/cross conversion. With the –3G versions of these modules, single link
or dual link 1920x1080p59.94/50 signals may be supplied to converter inputs. 7812 series modules
support 10 bit 4:2:2, 1920x1080p59.94 single link signals with Level A or Level B formatting per SMPTE
425M. When configured to accept dual link SMPTE 372M signals, both PGM A and PGM B inputs are
used. Nominally, PGM A is used to accept LINK A and PGM B is used to accept LINK B. Internally, 7812
modules have the ability to swap the source for LINK A and LINK B if required. When set to output dual
link SMPTE 372M signals, PGM OUT 1/2 are assigned for LINK A and PGM OUT 3 is assigned for LINK
B. All modules include integrated frame synchronization capabilities and have an external genlock input
for adjusting output video timing. In addition, the cards support FRAME REFERENCE inputs as supported
on the 7700FR-G and the 7800FR.

The video signal selected for processing (PGM A or PGM B) is routed through a number of advanced
processing stages including frame synchronization, audio/metadata extraction, noise reduction, de-
interlacing, aspect ratio conversion, up/down/cross conversion, video proc adjustment and detail
enhancement. De-embedded audio and metadata is re-inserted into the outgoing video signal with audio
delay matching video path processing delay.

One of the final stages of processing includes keying of the FILL input or embedded compact flash content
onto the output image (+F or +CF2G option only). With the +F option, the PGM B input is used to supply a
FILL input signal that can be keyed into unused portions of the output image raster (i.e. side panels
typically generated when converting from 4:3 to 16:9). When operating in this mode, the FILL input signal
is automatically frame synchronized so that pre-timing of FILL input signals is not required. FILL input
signals are not up/down/cross converted so it must match the output resolution configured for the module.
With the +CF2G option, static or animated side panels may be stored in the on-board compact flash that
keyed into image side panels. Content for the compact flash is generated using Evertz’s Overture Media
Design and may be loaded to 7812 series modules using Overture Media Manager. Files may also be sent
directly to the modules on-board compact flash using standard FTP techniques. As another alternative, the
compact flash may also be physically extracted from the card, loaded remotely and then replaced again.
Note that when ordering the +CF2G option, the functionality delivered by the +F option is automatically
included as well.

Within the audio processing block, audio delay is matched to track video delay. In addition, channel
swapping, gain and inversion processing is available. Down-mixed audio is also generated in this block. 8x
AES inputs and 8x AES outputs are supported on –AES8 versions of all modules. AES outputs carry the

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same audio that is being embedded. On –AES8 versions, stereo to 5.1 up-mixing is also supported with
the +UMX option.

Figure 1-1, Figure 1-2 and Figure 1-3 provide the block diagram for the UDX, the UC and the HDC
variations of the 7812 series products.

Figure 1-1: 7812UDX Block Diagram (-HD, -3G and –AES8 Versions)

Figure 1-2: 7812UC-HD Block Diagram (-HD, -3G and –AES8 Versions)

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Figure 1-3: 7812HDC Block Diagram (-HD, -3G and –AES8 Versions)

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1.2. PRODUCT OPTIONS

This manual covers all variations and ordering options for the 7812 series platform. The majority of card
controls are common across all products variations (7812UDX, 7812UC, 7812HDC) and ordering options.
A small number of items change depending on the product variation and ordering option. The following
chart provides a list of available product variations/ordering options and outlines what module control
changes based on each.

Product
Description
Options
-AES8 ● AUDIO control tab
"DMX Loss of Video Mode" control is available only with –AES8 versions

● AUDIO INPUT control tab

AUDIO INPUT control tab is available only with –AES8 versions

● AUDIO PROC CH1-CH4 control tab

All selectable options under “Source X” and “Source Y” controls within AUDIO PROC CH1-CH4 control tab
are labeled slightly differently than non-AES versions. In –AES8 versions, selectable options are labeled as
Channel 1…N rather than DMX Channel 1…N. This is done to reflect that –AES8 versions of 7812 modules
include an up-front audio selector that chooses whether to process de-embedded audio or AES audio for a
particular channel pair.

● AUDIO PROC CH5-CH8 control tab

All selectable options under “Source X” and “Source Y” controls within AUDIO PROC CH5-CH8 control tab
are labeled slightly differently than non-AES versions. In –AES8 versions, selectable options are labeled as
Channel 1…N rather than DMX Channel 1…N. This is done to reflect that –AES8 versions of 7812 modules
include an up-front audio selector that chooses whether to process de-embedded audio or AES audio for a
particular channel pair.

● AUDIO PROC CH9-12 control tab

All selectable options under “Source X” and “Source Y” controls within the AUDIO PROC CH9-CH12 control
tab are labeled slightly differently than non-AES versions. In –AES8 versions, selectable options are labeled
as Channel 1…N rather than DMX Channel 1…N. This is done to reflect that –AES8 versions of 7812
modules include an up-front audio selector that chooses whether to process de-embedded audio or AES
audio for a particular channel pair.

● AUDIO PROC CH13-16 control tab

All selectable options under “Source X” and “Source Y” controls within AUDIO PROC CH13-CH16 control
tab are labeled slightly differently than non-AES versions. In –AES8 versions, selectable options are labeled
as Channel 1…N rather than DMX Channel 1…N. This is done to reflect that –AES8 versions of 7812
modules include an up-front audio selector that chooses whether to process de-embedded audio or AES
audio for a particular channel pair.

● AUDIO 5.1 DOWN MIX control tab

All selectable options in the “L Source", "R Source", "C Source", "LFE Source", "Ls Source", "Rs Source"
controls within the AUDIO 5.1 DOWN MIX control tab are labeled slightly differently than non AES versions.
In the –AES8 versions, selectable options are labeled as Channel 1….N rather than DMX Channel 1….N.
This does not to reflect that the –AES8 versions of the modules include an up-front audio selector that
chooses whether to process de-embedded audio or AES audio for a particular channel pair.

● AUDIO/VIDEO TRAPS control tab

Traps for "AES 1" through "AES 8" traps are only valid when the "-AES8" option is present.

-3G
● VIDEO control tab
The "3G Dual Link Channel Swap" control is present only in –3G versions of modules

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+F
● VIDEO control tab
Under the “Video Input Source” control, the option to select Main PGM in BNC + fill is available only with the
+F option.
+CF2G Note: The +CF2G option also includes all functionality delivered by the +F option.

● VIDEO control tab

Under the “Video Input Source” control, the option to select Main PGM in BNC + fill is available only with the
+F option.

● PANEL LOGO control tab

The PANEL LOGO control tab only appears with the +CF2G option is present. This is used to control queing
and keying of side panel content stored in the internal compact flash.

● IP control tab
The IP tab only appears when the +CF2G option is present. This is used to set the IP address of the card’s
dedicated Ethernet port (used for up-loading content to the internal compact flash)
+UMX Note: The +UMX option is only valid on –AES variations of 7812 modules

● AUDIO PROC CH1-4 control tab

Within the “Source X” and “Source Y” controls selection of Up Mix L Front, Up Mix R Front, Up Mix Centre,
Up Mix LFE, Up Mix L Surround, Up Mix R Surround, Up Mix Delayed L In, Up Mix Delayed R In is
supported only when the +UMX is present.
.
● AUDIO PROC CH5-8 control tab
Within the “Source X” and “Source Y” controls selection of Up Mix L Front, Up Mix R Front, Up Mix Centre,
Up Mix LFE, Up Mix L Surround, Up Mix R Surround, Up Mix Delayed L In, Up Mix Delayed R In is
supported only when the +UMX is present.

● AUDIO PROC CH9-12 control tab

Within the “Source X” and “Source Y” controls selection of Up Mix L Front, Up Mix R Front, Up Mix Centre,
Up Mix LFE, Up Mix L Surround, Up Mix R Surround, Up Mix Delayed L In, Up Mix Delayed R In is
supported only when the +UMX is present.

● AUDIO PROC CH13-16 control tab

Within the “Source X” and “Source Y” controls selection of Up Mix L Front, Up Mix R Front, Up Mix Centre,
Up Mix LFE, Up Mix L Surround, Up Mix R Surround, Up Mix Delayed L In, Up Mix Delayed R In is
supported only when the +UMX is present..

● AUDIO PROC CH1-4 control tab

The UP MIX control tab is only present with the +UMX option

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Black video is output when 3G output signals are selected.

7812UDX-HD
Black video is output when 3G input video signals are selected.
(all "-" and "+" options)
All other combinations of input and output video standards supported.
7812UDX-3G
All combinations of input and output video standards are supported
(all "-" and "+" options)
Black video is output when 3G output signals are selected.
Black video is output when 3G input video signals are selected.
7812HDC-HD
SD video outputs are always valid regardless of whether the input video is HD or SD.
(all "-" and "+" options)
HD in to HD out is supported in a bypass mode. Otherwise, black output video is generated.
All other input and output video format combinations generate black output video.
SD video outputs are always valid regardless of whether input video is 3G, HD or SD.
HD into HD out is supported in only a bypass mode. Otherwise, black output video is generated.
7812HDC-3G
3G into 3G out is supported in only a bypass mode. Otherwise, black output video is generated.
(all "-" and "+" options)
3G to HD down-conversions are supported.
All other input and output video format combinations generate black output video.
Black video is output when 3G output signals are selected.
Black video is output when 3G input video signals are selected.
7812UC-HD
SD inputs are always valid.
(all "-" and "+" options)
HD into HD out is supported in only a bypass mode. Otherwise, black output video is generated.
All other input and output video format combinations generate black output video.
SD inputs are always valid.
HD into HD out is supported in only a bypass mode. Otherwise, black output video is generated.
7812UC-3G
3G into 3G out is supported in only a bypass mode. Otherwise, black output video is generated.
(all "-" and "+" options)
HD to 3G up-conversions are valid.
All other input and output video format combinations generate black output video.

Table 1-1: Control Interface Differences Between 7812 Converters Depending on Product
Variation/Ordering Options

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2. INSTALLATION
All 7812 series modules come with a companion rear plate and occupy two slots in the 7800FR frame or
three slots in the 7700FR-C. For proper operation in the 7700FR-C, the on-board “slot blocker” must
be installed in order for the card to power-up. If a 7812 series module is installed in a 7700FR-C
without the “slot blocker” installed, the card will not power-up and will show RED on its main status LED.
For information on mounting the rear plate and inserting the module into the frame see section 3 of the
7700FR manual. Refer to section 6.4 of this manual for more information on the 7812 series slot blocker.
Refer to Figure 2-1 through Figure 2-6 for 7812 series rear plate layouts.

Figure 2-1: 7812UDX-HD & 7812UDX-AES8-HD Rear Panels

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Figure 2-2: 7812UDX-3G & 7812UDX-AES8-3G Rear Panels

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Figure 2-3: 7812UC-3G & 7812UC-AES8-3G Rear Panels

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Figure 2-4: 7812UC-HD & 7812UDX-AES8-HD Rear Panels

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Figure 2-5: 7812HDC-3G & 7812HDC-AES8-3G Rear Panels

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Figure 2-6: 7812HDC-HD & 7812HDC-AES8-3G Rear Panels

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2.1. INPUT/OUTPUT CONNECTIONS

PGM IN A: Accepts a 10-bit serial digital video signal. –HD versions have inputs compatible with
both SMPTE 259M and SMPTE 292M standards. –3G versions have inputs compatible
with SMPTE 259M, SMPTE 292M, SMPTE 372M and SMPTE 425M*. The module can
be set to receive a specific video standard or set to automatically detect supplied input
video standard. PGM A or PGM B can be selected for subsequent video processing.
* References to 3G, SMPTE 424M/SMPTE 425 and single link 1080p59.94/50 refer 10 bit 4:2:2 1080p59.94/50 signals (Level A or B in SMPTE 425M)
References to dual link 1080p59.94/50 refer to SMPTE 372M mapping for 1080p59.94/50 4:2:2 10 bit data format only.

PGM IN B: Accepts a 10-bit serial digital video signal. –HD versions have inputs compatible with
both SMPTE 259M and SMPTE 292M standards. –3G versions have inputs compatible
with SMPTE 259M, SMPTE 292M, SMPTE 372M and SMPTE 425M*. The module can
be set to receive a specific video standard or set to automatically detect supplied input
video standard. PGM A or PGM B can be selected for subsequent video processing.
* References to 3G, SMPTE 424M/SMPTE 425 and single link 1080p59.94/50 refer 10 bit 4:2:2 1080p59.94/50 signals (Level A or B in SMPTE 425M)
References to dual link 1080p59.94/50 refer to SMPTE 372M mapping for 1080p59.94/50 4:2:2 10 bit data format only.

PGM OUT1-3: These BNC connectors are used to output video as serial component video. –HD
versions have outputs compatible with SMPTE 292M or SMPTE 259M standard. –3G
versions have outputs compatible with SMPTE 292M or SMPTE 259M or SMPTE 372M
or SMPTE 425M*.
* When set it to output SMPTE72M dual link 1920x1080p50/59.94 video, PGM OUT1 and PGM OUT2 provide LINK A and PGM OUT3 provides LINK B.

REF IN: This BNC is for connecting a bi-level or tri-level reference. Reference format auto-
detected by the module. Output video can be timed with respect to the supplied
reference using the H Phase Offset and V Phase Offset module controls. When no
reference is provided, the output video is timed with respect to the input video.
Reference may also be supplied via the 7700FR-G and 7800FR FRAME REFERENCE
inputs. VLPRO is used to select either the card’s external reference or the FRAME
REFERENCE BNC.

2.2. ETHERNET CONNECTIONS

Static or side panel content can be uploaded to the card’s internal compact flash using this port. All 7812
series modules are designed to use either 10Base-T (10 Mbps) or 100Base-TX (100 Mbps) also known as
Fast Ethernet, twisted pair Ethernet cabling systems. When connecting for 10Base-T systems, category
3, 4, or 5 UTP cable as well as EIA/TIA – 568 100Ω STP cable may be used. When connecting for
100Base-TX systems, category 5 UTP cable is required. Make the network connection by plugging one
end of a “straight through” cable into the RJ-45 receptacle of the 7812 modules and the other end into a
port of the supporting hub. If you are connecting the 7812 series module directly to an Ethernet port on a
computer you will have to use a “crossover” cable.

Straight-through RJ-45 cables can be purchased or can be constructed using the pinout information in
Table 2-1. A colour code wiring table is provided in Figure 2-7 for the current RJ-45 standards (AT&T
258A or EIA/TIA 258B colour coding shown). Also, refer to the notes following the table for additional
wiring guide information.

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Pin # Signal EIA/TIA 568A AT&T 258A or 10BaseT

EIA/TIA 568B or 100BaseT
1 Transmit + White/Green White/Orange X
Orange/White or
2 Transmit – Green/White or White X
Pin Orange
1 3 Receive + White/Orange White/Green X
Not used
4 N/A Blue/White or Blue Blue/White or Blue
(required)
Not used
5 N/A White/Blue White/Blue
(required)
Orange/White or
6 Receive – Green/White or Green X
Orange
Not used
7 N/A White/Brown White/Brown
(required)
Not used
8 N/A Brown/White or Brown Brown/White or Brown
(required)
Figure 2-7: Colour Code Wiring for the Current RJ 45 Standards
Note the following cabling information for this wiring guide:
• Only two pairs of wires are used in the 8-pin RJ 45 connector to carry Ethernet signals.
• Even though pins 4, 5, 7 and 8 are not used, it is mandatory that they be present in the cable.
• 10BaseT and 100BaseT use the same pins, a crossover cable made for one will work with the
other.
• Pairs may be solid colours and not have a stripe.
• Category 5 cables must use Category 5 rated connectors.

The maximum cable run between the 7812 series modules and the supporting hub is 300 ft (90 m).

Note that the two LEDs on the Ethernet connector are not used and will not light up when connected to an
Ethernet network. Ethernet functionality is not impacted by the lack of these LEDs lighting up.

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2.3. GPIO CONNECTOR

There are 4 General Purpose Inputs/Outputs (GPIOs) on the 7812 series modules. Each GPIO may be
configured to be an input or configured to be an output. These GPIOs are interfaced using a 15-pin DB
connector and an associated breakout cable (cable part # WPAES8-BNCM-9W-6F). NOTE: The GPIO
break-out cable is not included with the module when purchased.

Pin-out of this connector is as follows:

GPIO DB CONNECTOR
DB-15
Name Description Colour
Pin
1 GPIO1 General Purpose Input /Output #1 Red
2 Reserved Reserved --
3 GPIO2 General Purpose Input /Output #2 Blue
4 GPIO4 General Purpose Input /Output #4 Purple
5 Reserved Reserved --
6 Reserved Reserved --
7 GND Ground --
8 GPIO3 General Purpose Input /Output #3 Yellow
9 GND Ground --
10 GND Ground --
11 GND Ground --
12 GND Ground --
13 GND Ground --
14 GND Ground --
15 GND Ground --
Shell GND Ground --
Table 2-1: GPIO Connector Pinout

When a particular GPIO is configured to be a GPI, the following interface shall apply:

+5
VDC

3.6 K
to
internal
circuit

GPI
GPI
Command
GND

Figure 2-8: GPI Input Circuitry

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When a particular GPIO is configured to be a GPO, the interface shown below shall apply. The GPO is
active low with internal pull up (10k Ohm) resistors to +5V. When the output goes low it is able to sink up
to 10mA. When high, the signal will go high (+5V). Do not draw more than 100µA from the output.
Figure 2-9 shows the circuit for the general-purpose output.

+ 5 Volts

10 K
10 ohm
GPO
From Internal
Circuit
GND

Figure 2-9: GPO Output Circuitry

2.4. AES INPUTS

The –AES8 versions of 7812 series modules support 8x AES inputs and are interfaced using a DB15
connector and a breakout cable. The part number for the cable is # WPAES8-BNCM-6F. Two cables (one
for AES input and one for AES outputs) are included when the –AES8 option is ordered. The pin-out of
DB15 connector is shown in Table 2-2. The pin-out of the breakout cable is shown in Table 2-3.

PIN # Name Description

1 Not used Reserved for future use
2 Not used Reserved for future use
3 Not used Reserved for future use
4 Not used Reserved for future use
5 Not used Reserved for future use
Female
6 Not used Reserved for future use
7 AES In 2 AES Input 2 – Unbalanced
8 Not used Reserved for future use
9 AES In 6 AES Input 6 – Unbalanced
10 AES In 5 AES Input 5 – Unbalanced
11 AES In 1 AES Input 1 – Unbalanced
12 AES In 8 AES Input 8 – Unbalanced
13 AES In 7 AES Input 7 – Unbalanced
14 AES In 4 AES Input 4 – Unbalanced
15 AES In 3 AES Input 3 – Unbalanced
Shell GND Ground
Table 2-2: AES Input Audio Connector Pinout

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High Density Breakout

Ground/ Labelled HD2020
DB-15 PIN Cable
Shield Connection Name Connector Pin Map
(male) Connector
1 Red Wire None W1 RED Pin 1 – Not used
2 Green Wire None W2 GREEN Pin 2 – Not used
3 Blue Wire None W3 BLUE Pin 3 – Not used
4 Not Used N/A N/A Pin 4 – Not used
5 Not used N/A N/A Pin 5 – Not used
6 White Wire None W4 WHITE Pin 6 – Not used
7 Coax BNC Male Soldered to Shell AES A2 Pin 7 – AES In 2
8 Yellow None W5 YELLOW Pin 8 – Not used
9 Coax BNC Male Soldered to Shell AES B2 Pin 9 – AES In 6
10 Coax BNC Male Soldered to Shell AES B1 Pin 10– AES In 5
11 Coax BNC Male Soldered to Shell AES A1 Pin 11– AES In 1
12 Coax BNC Male Soldered to Shell AES B4 Pin 12– AES In 8
13 Coax BNC Male Soldered to Shell AES B3 Pin 13– AES In 7
14 Coax BNC Male Soldered to Shell AES A4 Pin 14– AES In 4
15 Coax BNC Male Soldered to Shell AES A3 Pin 15– AES In 3
Shell Black Wire GND GND
Table 2-3: AES Audio Input Breakout Cable (Evertz Part # WPAES8-BNCM-6F)

2.5. AES OUTPUTS

The –AES8 versions of 7812 series modules support 8x AES outputs and are interfaced using a DB15
connector and a breakout cable. The part number for the cable is # WPAES8-BNCM-6F. Two cables (one
for AES input and one for AES outputs) are included when the –AES8 option is ordered. The pin-out of
DB15 connector is shown in Table 2-4. The pin-out of the breakout cable is shown in Table 2-5.

AES OUT PIN # Name Description

1 Not used Reserved for future use
2 Not used Reserved for future use
3 Not used Reserved for future use
4 Not used Reserved for future use
5 Not used Reserved for future use
6 Not used Reserved for future use
Female 7 AES Out 2 AES Output 2 – Unbalanced
8 Not used Reserved for future use
9 AES Out 6 AES Output 6 – Unbalanced
10 AES Out 5 AES Output 5 – Unbalanced
11 AES Out 1 AES Output 1 – Unbalanced
12 AES Out 8 AES Output 8 – Unbalanced
13 AES Out 7 AES Output 7 – Unbalanced
14 AES Out 4 AES Output 4 – Unbalanced
15 AES Out 3 AES Output 3 – Unbalanced
Shell GND Ground
Table 2-4: AES Output Audio Connector Pinout

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High Density Breakout

Ground/ Labelled HD2020
DB-15 PIN Cable
Shield Connection Name Connector Pin Map
(male) Connector
1 Red Wire None W1 RED Pin 1 – Not used
2 Green Wire None W2 GREEN Pin 2 – Not used
3 Blue Wire None W3 BLUE Pin 3 – Not used
4 Not Used N/A N/A Pin 4 – Not used
5 Not used N/A N/A Pin 5 – Not used
6 White Wire None W4 WHITE Pin 6 – Not used
7 Coax BNC Male Soldered to Shell AES A2 Pin 7 – AES Out 2
8 Yellow None W5 YELLOW Pin 8 – Not used
9 Coax BNC Male Soldered to Shell AES B2 Pin 9 – AES Out 6
10 Coax BNC Male Soldered to Shell AES B1 Pin 10– AES Out 5
11 Coax BNC Male Soldered to Shell AES A1 Pin 11– AES Out 1
12 Coax BNC Male Soldered to Shell AES B4 Pin 12– AES Out 8
13 Coax BNC Male Soldered to Shell AES B3 Pin 13– AES Out 7
14 Coax BNC Male Soldered to Shell AES A4 Pin 14– AES Out 4
15 Coax BNC Male Soldered to Shell AES A3 Pin 15– AES Out 3
Shell Black Wire GND GND
Table 2-5: AES Audio Output Breakout Cable (Evertz Part # WPAES8-BNCM-6F)

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3. SPECIFICATIONS

3.1. SERIAL DIGITAL VIDEO INPUT

Standard: 270 Mb/sec SMPTE 259M
1.485 Gb/sec SMPTE 292M (1080i/720 @ 59.94 or 50 Hz)
2.970 Gb/sec SMPTE 425M (-3G versions only)
Number of Inputs: 2 (PGM A and PGM B)
Connector: BNC per IEC 61169-8 Annex A
Signal Level: 1V nominal
Input Equalization: Automatic to 300m @ 270 Mbs with Belden 8281 or equivalent
Automatic to 100m @ 1.485 Gbs with Belden 8281 or equivalent
Automatic to 80m @ 2.970 Gbs with Belden 8281 or equivalent (-3G version
only)

Return Loss: > 15 dB to 1.5 GHz

> 10 dB to 3.0 GHz
* References to 3G, SMPTE 424M/SMPTE 425 and single link 1080p59.94/50 refer 10 bit 4:2:2 1080p59.94/50 signals (Level A or B in SMPTE 425M)
References to dual link 1080p59.94/50 refer to SMPTE 372M mapping for 1080p59.94/50 4:2:2 10 bit data format only.
When set to output 372M dual link, PGM OUT1/2 are assigned for LINK A and PGM OUT3 is assigned to LINK B output.
Initial release will not support +CF option for 1080p59.94/50 output signals

3.2. SERIAL DIGITAL VIDEO OUTPUT

Standard: 270 Mb/sec SMPTE 259M
1.485 Gb/sec SMPTE 292M (1080i/720 59.94 or 50 Hz)
2.970 Gb/sec SMPTE 425M (-3G versions only)
Number of Outputs: 3
Connector: BNC per IEC 61169-8 Annex A
Signal Level: 800 mV nominal
SD Rise/Fall Times: 740 ps nominal
HD Rise/Fall Times: 200 ps nominal
Return Loss: > 15 dB to 1.5 GHz
> 10 dB to 3.0 GHz
* References to 3G, SMPTE 424M/SMPTE 425 and single link 1080p59.94/50 refer 10 bit 4:2:2 1080p59.94/50 signals (Level A or B in SMPTE 425M)
References to dual link 1080p59.94/50 refer to SMPTE 372M mapping for 1080p59.94/50 4:2:2 10 bit data format only.
When set to output 372M dual link, PGM OUT1/2 are assigned for LINK A and PGM OUT3 is assigned to LINK B output.
Initial release will not support +CF option for 1080p59.94/50 output signals

3.3. REFERENCE VIDEO INPUT

Type: HD Tri-Level sync, NTSC or PAL Colour Black 1 V p-p
Connector: BNC per IEC 61169-8 Annex A
Termination: 75 ohm

3.4. GENERAL PURPOSE INPUTS AND OUTPUTS

Number: 4 (configurable as inputs or outputs)
Type: Opto-isolated, active low with internal pull-ups to +5 V
Connector: DB 15
Signal Level: Closure to ground

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Input Function: User preset select or side pane fill on/off

Output Function: Panel on/off tally

3.5. AES INPUTS

Number: 8x AES inputs
Standard SMPTE 276M, synchronous or asynchronous
Connector: DB 15
Input Type: Unbalanced
Impedance: 75 Ω
Signal Level 1 V p-p
Sampling Rate 48 KHz

3.6. AES OUTPUTS

Number: 8x AES outputs
Standard SMPTE 276M, synchronous
Connector: DB 15
Input Type: Unbalanced
Impedance: 75 Ω
Signal Level 1 V p-p
Sampling Rate 48 KHz.

3.7. ELECTRICAL
Voltage: +12VDC
Power: 26.5 Watts
EMI/RFI: Complies with FCC regulations for class A devices.
Complies with EU EMC directive.

3.8. PHYSICAL
Number of slots
7800FR Frame: 2
7700FR-C Frame: 3 (slot blocker must be installed for proper operation)

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4. STATUS LEDS

4.1. MODULE STATUS LEDS –AES8 VERSION AND NON –AES8 VERSIONS
Figure 4-1 depicts status LEDs for the 7812UDX-3G and 7812UDX-AES-3G series modules. LEDs are in
the same position and perform the same function for all variations of the 7812 including UDX, UC and
HDC versions.

Module 4 Character
Status Dot Matrix
Shaft Display
Encoder (not used)
(not used)

7812UDX-3G

PGM B GRP 1 GRP 3

PRESENT PRESENT PRESENT

PGM A REF GRP 2 GRP 4

PRESENT PRESENT PRESENT PRESENT

Headphone Out
(not currently
implemented)

AES2 AES4 AES6 AES8

PRES PRES PRES PRES
AES1 AES3 AES5 AES7
PRES PRES PRES PRES

7812UDX-AES8-3G
Module
Status
4 Character Dot Matrix
Display (not used)
7812UDX-AES8-3G

PGM B GRP 1 GRP 3

PRESENT PRESENT PRESENT

PGM A REF GRP 2 GRP 4

PRESENT PRESENT PRESENT PRESENT

Shaft
Encoder
(not used)

Figure 4-1: Status LEDs

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MODULE This Green LED will be On when the module is operating properly.
STATUS:
LOCAL FAULT: This Red LED will be On when an essential module input is missing or the module
has another fault.

PGM A PRESENT: The PGM A PRESENT LED will be green when a valid input signal is present on
the PGM A BNC. It will be red when missing an input signal. It will blink between
red and green when an invalid input signal is presented.

PGM B PRESENT: The PGM B PRESENT LED will be green when a valid input signal is present on
the PGM B BNC. It will be red when missing an input signal. It will blink between
red and green when an invalid input signal is presented.

REF PRESENT: The REF PRESENT LED will be green when a valid reference signal is present on
the REF IN BNC. It will be red when missing a reference signal. It will blink between
red and green when an invalid genlock signal is presented. This LED will also be
red when genlocking is turned off (lock to video).

GRP1 PRESENT: This LED will be Green when embedded audio Group 1 is present and Red when
embedded audio Group 1 is not present.

GRP2 PRESENT: This LED will be Green when embedded audio Group 2 is present and Red when
embedded audio Group 2 is not present.

GRP3 PRESENT: This LED will be Green when embedded audio Group 3 is present and Red when
embedded audio Group 3 is not present.

GRP4 PRESENT: This LED will be Green when embedded audio Group 4 is present and Red when
embedded audio Group 4 is not present.

AES1 PRES: This LED will be Green when AES1 is present and Red when AES1 is not present.

AES2 PRES: This LED will be Green when AES2 is present and Red when AES2 is not present.

AES3 PRES: This LED will be Green when AES3 is present and Red when AES3 is not present.

AES4 PRES: This LED will be Green when AES4 is present and Red when AES4 is not present.

AES5 PRES: This LED will be Green when AES5 is present and Red when AES5 is not present.

AES6 PRES: This LED will be Green when AES6 is present and Red when AES6 is not present.

AES7 PRES: This LED will be Green when AES7 is present and Red when AES7 is not present.

AES8 PRES: This LED will be Green when AES8 is present and Red when AES8 is not present.

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5. MODULE CONTROL
The 7812 series of products are controlled using VistaLINK® Pro. VistaLINK® PRO operates using
Ethernet and SNMP control protocols. The 7812 series modules DO NOT HAVE card edge controls. As a
result, 7700FC modules must be installed in all frames that house 7812 series modules. Refer to the
Evertz website for the most recent firmware for the 7700FC. When using VistaLINK® PRO it is also
important to ensure that the most recent 7812 series “.JAR” control file is installed. Refer to the Evertz
website for the most recent 7812 series “.JAR” file.

For the sake of brevity, the following sections describe module control in terms of the parameters found
within the VLPRO screens for the 7812UDX-AES8-3G+CF2G+F+UMX. The vast majority of controls are
the same for the UC and HDC versions of 7812 series modules. Exceptions to this are outlined in section
1.2 of this manual. As additional features and options are released, additional sections will be appended
to this manual to show those control screens.

5.1. CONTROL CATEGORIES

Within VistaLINK®, the 7812 series of products have the following main control tabs:

CONTROL TAB DESCRIPTION

Video Configuration for the source of video, the input and output video standards, the source of video
reference and frame sync output timing. In addition the source of time code, time code
read/write lines and FS operating modes are defined within this control tab. The status of
several monitored video and AFD parameters are also reported in this control tab.
Audio Configuration for enabling and disabling audio embedders, setting audio delay and setting
sample rate converter (SRC) operating modes. In addition, C bit processing and default audio
operating modes are specified within this control tab. The status of several monitored audio
parameters are also reported in this control tab.
Audio Input Configuration for selecting which channels of audio (AES or embedded) are processed
internally within the card. Selection of which audio is processed to be done on a pair by pair
basis.
Audio Proc Ch1-4 Configuration for channel swapping, audio gain, audio inversion and mono mixing for outbound
audio channels CH1, CH2, CH3, CH4.
Audio Proc Ch5-Ch8 Configuration for channel swapping, audio gain, audio inversion and mono mixing for outbound
audio channels CH5, CH6, CH7, CH8.
Configuration for channel swapping, audio gain, audio inversion and mono mixing for outbound
Audio Proc Ch9-Ch12 audio channels CH9, CH10, CH11, CH12.
Configuration for channel swapping, audio gain, audio inversion and mono mixing for outbound
Audio Proc Ch13-16 audio channels CH13, CH14, CH15, CH16.
Configuration for setting key operating modes and key thresholds for the internal video de-
De-interlacer Control interlacer.
Video Proc Configuration for setting video proc controls including RGB gains, YCbCr gains/offsets, Hue,
Saturation, Video Level, Gamma and RGB colour legalization.
Image Enhancement Configuration for the image enhancement process including enhancement enable/disable,
detail gain, enhancement limit, horizontal band, vertical intensity, luma floor and the detail
noise floor.

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Scaler Configuration for setting the scaler aspect ratio conversion (ARC) mode, the default AFD
stamping mode and the default side panel colours. In addition, scaler filter bandwidths and H/V
edge processing controls are defined in this control tab.

Note that when automatic steering of ARC modes based on AFD is enabled (within the
AFD control tab), the ARC conversion controls within the SCALER control tab are
disabled. Refer to the AFD Control and AFD ARC control tabs for more information.

Note that when the AFD Stamp Source is set to ‘Use Scaler’ in the AFD Control tab, the
AFD Stamp control within the Scaler control tab is disabled. Refer to the AFD Control
and AFD ARC control tabs for more information.

CC Control Configuration for the closed captioning translation process including service level mapping and
HD write lines.

Utilities Control Configuration for managing card presets including storing configurations to specific user
presets, recalling specific user presets and enabling/disabling Auto Recall Presets
functionality.

SD Aperture Control Configuration for setting the SD Aperture to be used when performing scaling and ARC
operations including independent settings for both Clean and Production Apertures.

AFD Control Configuration for setting how the card will process and respond to AFD.

Note that when automatic steering of ARC modes based on AFD is enabled, the ARC
conversion controls within the SCALER control tab are disabled.

Note that when the AFD Stamp Source is set to ‘Use Scaler’, the AFD Stamp control
within the Scaler control tab is disabled.

AFD ARC Configuration for defining what aspect ratio conversions will be performed in response to
incoming AFD values. Each incoming AFD code can select from the predefined list of ARC
modes or a user defined ARC mode. These responses are defined within this control tab.
Noise Control Configuration for setting noise reduction. Individual configuration for Mosquito Noise
Reduction, Block Artifact Reduction and Motion Adaptive Spatial-Temporal Noise Reduction.

SCTE104 Configuration for passing or deleting incoming SCTE 104 packets and further specifying the
HD write line when passing SCTE 104 packets.
CC Fault Traps Configuration for enabling and disabling specific Close Captioning fault traps and viewing
Close Captioning trap status.

Audio/Video Traps Configuration for enabling and disabling specific Video and Audio fault traps and viewing Video
and Audio trap status.

GPIO Configuration for defining the four (4) card GPIOs as a GPI or a GPO and further defining the
function of each GPIO.

Panel Logo Configuration for cueing, playing and looping embedded side panel logos. Logo status is also
reported in this control tab.

IP Configuration for defining the IP address, subnet mask and default gateway for the card’s
Ethernet port. At the time of this manual’s writing the Ethernet port is only used for uploading
side panel content to the card’s internal compact flash.

Audio 5.1 Down Mix Configuration for defining the source audio channels for the 5.1 down-mix process and further
defining the down mix type and level parameters.

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Dolby Metadata Encoder Configures high-level Dolby Metadata encoder parameters including output line, DID, SDID,
program configuration and encoding type (Method A or Method B)
Dolby Metadata Control – Configures the Dolby Metadata Encoder for Program 1&2.
Program 1&2

Dolby Metadata Control – Configures the Dolby Metadata Encoder for Program 3&4.
Program 3&4

Dolby Metadata Control – Configures the Dolby Metadata Encoder for Program 5&6.
Program 5&6

Dolby Metadata Control – Configures the Dolby Metadata Encoder for Program 7&8.
Program 7&8

Up Mix Control Configures the source audio channel for stereo to 5.1 up-mixing and further defining key up-
mix algorithm parameters.

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5.2. CONFIGURING THE VIDEO CONTROLS

The Video control tab is mainly used to configure the source of video, the input and output video
standards, the source of video reference and frame sync output timing. In addition, the source of time
code source, time code read/write lines and FS operating modes are defined within this control tab. The
status of several monitored video and AFD parameters are also reported in this control tab.

Figure 5-1: Video Tab

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5.2.1. Video Control

5.2.1.1. Setting the Input Video Standard

This option selects the input video standard being used. Interlaced video formats are shown with the
number of fields per second. Progressive formats are shown with the number of frames per second. The
module is not capable of converting between 59.94/60 Hz and 50 Hz related frame rates. The drop down
menu for Video Std Input appears as follows:

When the input standard is set to Auto, the module will auto detect the video standard.
The full set of available input video standards include:
* For -3G versions only.

Auto
1080i/59.94
720p/59.94
525i/59.94
1080i/50
720p/50
625i/50
1080p/59.94 (425M level A) *
1080p/59.94 (425M level B) *
1080p/59.94 (372M dual link) *
1080p/50 (425M level A) *
1080p/50 (425M level B) *
1080p/50 (372M dual link) *

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5.2.1.2. Setting the Output Video Standard

The Video Std Output control selects the output standard desired. Note that only conversions within the
same frame rate family are supported. The module is not capable of converting between 59.94/60 Hz and
50 Hz related frame rates (i.e. standards conversion is not possible). The drop down for Video Std Output
appears as follows:

The full set of available output video standards include:

* For –3G versions only

1080i/59.94
720p/59.94
525i/59.94
1080i/50
720p/50
625i/50
1080p/59.94 (425M level A) *
1080p/59.94 (425M level B) *
1080p/59.94 (372M dual link) *
1080p/50 (425M level A) *
1080p/50 (425M level B) *
1080p/50 (372M dual link) *

5.2.1.3. Selecting The Video Input Source

The Video Input Source control selects whether the source of input video will be the PGM IN A or the
PGM IN B BNC. In this control, select Main PGM in BNC to process video supplied on PGM IN A through
the main up/down/cross conversion path. Select Backup PGM in BNC to process video supplied on PGM
IN B through the main up/down/cross conversion path. Select Backup PGM in + fill BNC to process video
supplied on PGM IN A through the up/down/cross conversion path and use content supplied on the PGM
IN B as the FILL input for the cards input down stream keyer. Select Auto to enable the card to
automatically fail-over to the alterative input BNC should video on the BNC in active use become invalid
for any reason. The drop down for Video Input Source appears as follows:

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5.2.1.4. Setting the SD Blanking

With this control, you can adjust which standard definition lines will be blanked prior to processing SD
input signals. It is customary to blank line 21 where closed caption information may be present. Note that
the caption translation process will still occur as expected even when line 21 is blanked. This control
simply prevents caption waveforms from being processed as video. The drop down for SD Blanking
appears as follows:

5.2.1.5. Selecting the Video Reference Source

With this control, the source of video reference for the card is selected.
When the card is used in the 7700FR-G or the 7800FR Frame Reference inputs may be used.

• To select the REF IN BNC, choose External genlock.

• To select Frame Ref 1 on the 7700FR-G or the 7800FR, choose Frame reference 1
• To select Frame Ref 2 on the 7700FR-G or the 7800FR, choose Frame reference 2
• To select locking to the incoming video, select Video (none).

" Note that if the selected genlock reference disappears or is not valid, the card will
lock to incoming video.

The drop down menu for the Reference Select appears as follows:

5.2.1.6. Setting the Vertical Phase of the Output Video

With this control, you can set the vertical timing of the output video with respect to the reference input set
by the Reference Select control. There are separate settings of V phase offset for each output video type.
Setting this control to 0 keeps the output video frame aligned with the reference.

Increasing the value will delay the output video in one-line increments of the output video standard. In
order to advance the vertical timing of the output video with respect to the reference, set the control to the
maximum total number of lines of the output video minus the number of lines that you wish to advance the
output video. (I.e. for 1080i/59.94 output video the total number of lines is 1125, so to advance the output
video 5 lines set the value to 1120.) When increasing the V Phase Offset value causes it to go beyond the

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limit of the frame buffer, the V Phase Offset will wrap to the beginning of the frame buffer, resulting in a
change of one frame of through-put delay between the SD input and the video output.

Note: The slider is available for selecting H and V Phase Offsets. To increment by click

" on the right hand side of the slider. To decrement click on the left hand side of the
slider. The slider can also be selected and dragged across the available range if gross
movement is desired.

5.2.1.7. Setting the Horizontal Phase of the Output Video

With this control, you can set the horizontal timing of the output video with respect to the reference input
set by the Reference Select control. There are separate settings of H phase offset for each output video
type. Setting this control to 0 keeps the output video line aligned with the reference.

Increasing the value will delay the output video in one-sample increments. In order to advance the
horizontal timing of the output video with respect to the genlock video, set the control to the maximum
number of samples per line for the output video standard minus the number of samples that you wish to
advance the output video. (I.e. for 1080i/59.94 input video the total number of samples per line is 2200, so
to advance the output video 5 samples set the value to 2195.)

5.2.1.8. Setting the 3G Dual Link Swap

This control is used when operating with dual link 1920x1080p input signals per SMPTE 372M. When
leave channels is selected, LINK A should be applied to PGM IN A and LINK B should be applied to PGM
IN B. When swap channels is selected, LINK A should be applied to PGM IN B and LINK B should be
applied to PGM IN A. The module will internally swap the inputs so that proper processing can occur
internally. When set to auto, the module will automatically determine if LINK A is supplied to PGM IN A or
PGM IN B based on embedded video payload ID information. Use the drop down menu as shown below
to select the operating mode.

When the leave channels option is selected, LINK A should be applied to PGM
leave channels
IN A and LINK B should be applied to PGM IN B.
When the swap channels option is selected, LINK A should be applied to PGM IN
swap channels B and LINK B should be applied to PGM IN A. The module will internally swap
the inputs so that proper processing can occur internally.
When set to auto, the module will automatically determine if LINK A is supplied to
auto
PGM IN A or PGM IN B based on embedded video payload ID information.

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5.2.1.9. Loss of Video Mode

This control defines the action that will be taken when the input video is lost. You can choose to freeze the
output video on the last good frame of input video, force the output video to black or force the output video
to blue. The Loss of Video Mode drop down menu appears as follows:

5.2.1.10. FS Only Mode

The FS Only Mode controls the response of the converter when the input and output formats are the
same. When set to Min the converter will operate purely as a frame synchronizer and will introduce the
minimum possible delay in the signal path. When set to Match, the converter will operate as a frame
synchronizer AND will maintain the same delay through the signal path that was present before the input
standard changes to match the selected output standard. When set to Off, video processing (ie. ARC
processing and video proc controls) will be enabled even when input and output video standards are the
same. Select the operating mode using the drop down menu as shown below.

When set to Off, the frame sync only mode will be disabled and video processing
Off (ie. ARC processing and video proc controls) will be enabled even when input
and output video standards are the same.
When set to Min, the converter will operate purely as a frame synchronizer and
Min
will introduce the minimum possible delay in the signal path.
When set to Match, the converter will operate as a frame synchronizer AND will
Match maintain the same delay through the signal path that was present before the
input standard changes to match the selected output standard.

5.2.1.11. Selecting the VITC Reader and VITC Writer Lines

Using the VITC Read control, the user can select the line number from which VITC will be read on the
input video. Using the VITC Write control, the user can select the line number where VITC will be written
on output video. The range for both controls is Line 10 through Line 18.

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5.2.1.12. Time Code Source

This control selects the source of Timecode. Select Embedded to use RP188 ancillary time code (ATC) as
the source for high definition video formats or Vertical interval time code (VITC) as the source for standard
definition video formats. When Off is selected, there will be no timecode on the output video.

" If no Timecode is detected, it will not be embedded on the output video.

5.2.2. Video Monitor

The Video Monitor section enables the user to view the status of video related parameters.

5.2.2.1. Main PGM IN BNC Video Standard

The Main PGM IN BNC Video Std reports if a valid video signal is presented to PGM IN A and what
standard has been detected when it is present.

5.2.2.2. Backup PGM IN BNC Video Standard

Backup PGM IN BNC Video Std reports if a valid video signal is presented to PGM IN B and what
standard has been detected when it is present.

5.2.2.3. Input Video BNC

Input Video BNC reports what input BNC has been selected to pass through the main up/down/cross
conversion path.

5.2.2.4. Video Payload ID

Video Payload ID reports if a valid Video Payload ID ANC packet has been detected and will display the
decoded video format information.

5.2.2.5. External Genlock Standard

External Genlock Standard reports if a valid video reference has been supplied to the REF IN BNC and
indicates the standard that is detected when a valid reference is applied.

5.2.2.6. Video Delay

Video Delay reports video delay through the card in ms.

5.2.2.7. CDP Parser

This parameter displays the status of Closed Caption reading.

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5.2.3. AFD Monitor

5.2.3.1. Input AFD Code Status

Any detected AFD values on the incoming video signal will be reported in this area. The detected AFD
code will be presented and a pictorial representation of what that code means will be presented beside the
numerical AFD value.

5.2.3.2. Output AFD Code Status

The AFD code being stamped on the output of the card (if applicable) will be presented and a pictorial
representation of what that AFD code means will be presented beside the numerical AFD value.

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5.3. CONFIGURING THE AUDIO SETTINGS

All 7812 series modules incorporate a similar audio architecture. Figure 5-2 depicts this architecture.
Internally, 16 channels of audio are processed within the module. These 16 channels of audio are selected
(on a pair by pair basis) to come from embedded audio inputs or discrete AES inputs. Once input audio
channels are selected, auto-sensing audio sample rate conversion and adjustable audio delay is applied.
All advanced audio processing steps, such as audio up-mixing, down-mixing and adjacent channel mono-
mixing, have simultaneous access to all 16 channels of input audio.

Finally, sixteen independent Output Channel Mixers generate sixteen channels of output audio. These
Output Channel Mixers perform any required audio inversions, audio gain adjustments and audio channel
swapping. Using the X and Y inputs of each Output Channel Mixer an additional level of mono-mixing is
also available for each channel of output audio. AES audio outputs and embedded audio outputs carry the
same audio.

Figure 5-2: Internal 7812 Series Audio Architecture

The Audio control menu is used to configure the on-board audio sample rate converters and the internal
audio delay block. The Audio menu is also used to enable and disable the four internal audio embedders
and to specify C bit processing modes. SRC status, Audio Delay and Video Delay parameters are also
monitored and reported in the Audio menu. Sections 5.3.1 to 5.3.2 give detailed information about each of
the menu items.

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Figure 5-3: Audio Tab

" Any changes to the audio settings will cause a momentary interruption on the output
audio.

5.3.1. Audio Control Settings

5.3.1.1. Selecting The Audio Delay

This control adjusts the audio delay +/- 100.00 ms. This delay is relative to the delay that the module
automatically inserts to match audio path and video path delays.

" Note: Negative values are limited to the amount that cause the delay to be only the
audio processing delay, the card does not have negative delay ability.

5.3.1.2. Configuring the SRC Mode

This control allows the user to adjust the mode for the sample rate converters.

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Enable Enables the sample rate converters for PCM audio.

Bypasses the sample rate converters.
Bypass
This setting should be used for non-PCM audio.
The module will automatically detect PCM and non-PCM audio and
Auto automatically turn on/off the SRCs as required. Note that all SRCs are set to
bypass as soon as a source of non-PCM audio is detected within any of the
16 internally processed audio channels

5.3.1.3. Selecting The Audio Groups That Will Be Embedded

The module has four audio embedders that each insert one group of audio into the outgoing serial digital
video. For the sake of brevity, only the control for Audio Embedder 1 is discussed in further detail. Each
embedder has an enable and disable function as shown below.

Disable Audio embedding for group 1 will be disabled.

Enable Audio embedding for group 1 will be enabled.

5.3.1.4. Configuring the C-Bit Control

This control enables the user to set the C-Bit Control.

Using the C-Bit Control drop down menu, the user can select from the following options:

This option preserves/passes the C-Bit settings from audio inputs to audio
Preserve
outputs.
Replace: This option replaces the C-Bit settings

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5.3.1.5. Configuring the DMX Loss of Video Mode

This control enables the user to set the action that the 7812 series module will take when there is a loss of
input video. If the video is lost, you may choose to mute the output audio or choose to pass AES input
audio.

Mute Setting this control to mute will mute the audio if there is a loss of video.
Setting this control to pass AES will enable the user to pass the AES audio
Pass AES
when the input video is lost.

5.3.2. Audio Monitor Settings

The Audio Monitor section enables the user to view video and audio parameters that are monitored.
This section is for read-only purposes and the parameters herein cannot be modified.

5.3.2.1. SRC Status

The SRC Status parameter displays the status of the Sample Rate Converters. The SRC status will
display either enable or bypass.

5.3.2.2. Audio Delay

The Audio Delay parameter displays the delay of the audio in ms.

5.3.2.3. Video Delay

The Video Delay parameter displays the delay of the associated video in ms.

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5.4. CONFIGURING THE AUDIO INPUT CONTROLS

All 7812 series modules incorporate a similar audio architecture as shown in Figure 5-4. Internally, 16
channels of audio are processed within the module. These 16 channels of audio are selected (on a pair by
pair basis) to come from embedded audio inputs or discrete AES inputs. This is done within the Audio
Input control tab. For the sake of brevity, only the settings for channels 1-8 are shown. Controls for CH 9-
16 are exactly the same.

Figure 5-4: Audio Input Tab

5.4.1. Audio Input Pair Select Options

5.4.1.1. Configuring the Audio Source for Input Channel 1 and 2

This control allows the user to configure the source for internally processed channels 1 and 2. Your
options include processing embedded audio channels with Group 1 CH1+2 or AES1 input.

Select this option to choose embedded audio Group 1, CH1+2 for subsequent
DMX Group 1 CH1+2
processing in the card.
AES1 Select this option to choose AES1 input for subsequent processing in the card.

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5.4.1.2. Configuring the Audio Source for Input Channel 3 and 4

This control allows the user to configure the source for internally processed channels 3 and 4. Your
options include processing embedded audio channels with Group 1 CH3+4 or AES2 input.

Select this option to choose embedded audio Group 1, CH3+4 for subsequent
DMX Group 1 CH3+4
processing in the card.
AES2 Select this option to choose AES2 input for subsequent processing in the card.

5.4.1.3. Configuring the Audio Source for Input Channel 5 and 6

This control allows the user to configure the source for internally processed channels 5 and 6. Your
options include processing embedded audio channels Group 2 CH1+2 or AES3 input.

Select this option to choose embedded audio Group 2, CH1+2 for subsequent
DMX Group 2 CH1+2
processing in the card.
AES3 Select this option to choose AES3 input for subsequent processing in the card.

5.4.1.4. Configuring the Audio Source for Input Channel 7 and 8

This control allows the user to configure the source for internally processed channels 7 and 8. Your
options include processing embedded audio channels with Group 2 CH3+4 or AES4 input.

Select this option to choose embedded audio Group 2, CH3+4 for subsequent
DMX Group 2 CH3+4
processing in the card
AES4 Select this option to choose AES4 input for subsequent processing in the card

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5.5. CONFIGURING THE AUDIO PROC CONTROLS

As shown in Figure 5-1, there are sixteen individual Output Channel Mixers in 7812 series modules. These
Output Channel mixers perform audio inversion, audio gain adjustment and audio channel swapping for
each of the 16 output audio channels. Using the X and Y inputs of each Output Channel Mixer an
additional level of mono-mixing is also available for each channel of output audio. Embedded audio and
discrete AES audio outputs are driven with the same audio generated using these Output Channel Mixers.

For the sake of brevity, only the Audio Proc Ch1-Ch4 control tab will be discussed in this manual. Control
tabs for Audio Proc Ch5-Ch8, Audio Proc Ch9-Ch12 and Audio Proc Ch13-16 are identical in their
operation. The controls for Channel 1 will be described in detail, as the controls for Channel 2, Channel 3
and Channel 4 operate in an identical fashion.

Figure 5-5: Audio Proc Ch1-Ch4 Tab

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5.5.1. Source X
The Source X control enables the user to route one of the 16 internally processed input audio channels to
the X input of the Channel 1 mixer. The user can select the channel source by selecting the desired
channel from the Source X drop down menu as shown below.

The full set of available channels is listed below.

Source X Input Channel 1

Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
Channel 7
Channel 8
Channel 9
Channel 10
Channel 11
Channel 12
Channel 13
Channel 14
Channel 15
Channel 16
Mono mix channels 1 and 2
Mono mix channels 3 and 4
Mono mix channels 5 and 6
Mono mix channels 7 and 8
Mono mix channels 9 and 10
Mono mix channels 11 and 12
Mono mix channels 13 and 14
Mono mix channels 15 and 16
Mute
Down Mix L
Down Mix R
Up Mix L Front
Up Mix R Front
Up Mix Center
Up Mix LFE
Up Mix L Surround
Up Mix R Surround
Up Mix Delayed L In
Up Mix Delayed R In

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5.5.2. Gain Adjust X

The Gain Adjust X control enables the user to set the value of the gain for the selected source. The user
can adjust the gain of the selected source by moving the associate slider control left to decrease the value
or right to increase the value. The value range for the gain adjustments is -24 dB to +24 dB. Gain is
incremented or decremented in 0.1 dB steps.

5.5.3. Invert Enable X

This control enables the user to invert the phase or pass the selected audio channel. The Invert Enable X
drop down menu appears as follows:

Normal Pass the audio channel through with no processing.

Invert Invert the phase of the audio channel.

5.5.4. Source Y
The Source Y control enables the user to route one of the 16 internally processed input audio channels to
the Y input of the Channel 1 mixer. The user can select the channel source by selecting the desired
channel from the Source Y drop down menu as shown below.

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The full set of available channels is listed below.

Source Y Input Channel 1

Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
Channel 7
Channel 8
Channel 9
Channel 10
Channel 11
Channel 12
Channel 13
Channel 14
Channel 15
Channel 16
Mono mix channels 1 and 2
Mono mix channels 3 and 4
Mono mix channels 5 and 6
Mono mix channels 7 and 8
Mono mix channels 9 and 10
Mono mix channels 11 and 12
Mono mix channels 13 and 14
Mono mix channels 15 and 16
Mute
Down Mix L
Down Mix R
Up Mix L Front
Up Mix R Front
Up Mix Center
Up Mix LFE
Up Mix L Surround
Up Mix R Surround
Up Mix Delayed L In
Up Mix Delayed R In

5.5.5. Gain Adjust Y

The Gain Adjust Y control enables the user to set the value of the gain for the selected source. The user
can adjust the gain of the selected source by moving the associate slider control left to decrease the value
or right increase the value. The value range for the gain adjustments is -24 dB to +24 dB. Gain is adjusted
in 0.1 dB increments.

5.5.6. Invert Enable Y

This control enables the user to invert the phase or pass the selected audio channels. The Invert Enable Y
drop down menu appears as follows:

Normal Pass the audio channel through with no processing.

Invert Invert the phase of the audio channel.

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5.6. CONFIGURING THE DEINTERLACER

The Deinterlacer controls are used to configure parameters associated with the video de-interlacer. Video
de-interlacing is performed so that the scaling/aspect ratio conversion can occur in the progressive video
domain. Scaling/aspect ratio conversion in the progressive domain is the highest quality way to perform
up/down/cross conversion. Sections 5.6.1 to 5.6.5 provide detailed information about each of the menu
items.

Figure 5-6: DeInterlacer Control Tab

5.6.1. Setting the Deinterlacer Mode

With this control, you can set whether the module will perform field or frame based de-interlacing
conversion. The user can select Field or Frame based processing using the drop down menu that appears
as follows:

Field In Field mode the de-interlacer works on a field-by-field basis.

Frame In Frame mode the de-interlacer works on a complete frame basis.

"
Note: When operating in an up-conversion mode, this control is ignored and is
defaulted to frame mode. The deinterlacer will automatically switch between frame
and field accordingly to the image.

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5.6.2. Setting the DeInterlacer Type

This control enables the user to set the base type of de-interlacing that the module will perform. The user
may choose between Temporal Only, Field Merge Only and Adaptive VT. Select that de-interlacer
processing mode using the drop down menu.

When de-interlacing, only temporal filtering is performed to interpolate the 480i to

Temporal Only
480p pixels or 1080i to 1080 pixels.
When de-interlacing, field 1 and field 2 are merged together with no filtering
Field Merge Only
performed to interpolate 480i to 480p or 1080i to 1080p pixels.
When de-interlacing fully motion adaptive processing is applied with adaptive spatial+
Adaptive VT temporal filtering applied when interpolating 480i to 480p or 1080i to 1080p pixels.
This is the highest quality mode of operation and is the recommended setting.

5.6.3. Setting the IFMD Mode

This control enables the user to set the motion processing mode for the de-interlacer. The user may select
from Disable, Auto or Noise Adaptive using the following drop down menu.

Disable No motion adaptive processing will take place and all pixels will be treated as static.
Per pixel motion processing will take place and de-interlacing filters will automatically
Auto
change based on the amount of per pixel motion detected.
Per pixel motion processing will take place and de-interlacing filters will automatically
change based on the amount of per pixel motion detected and the automatically
Noise Adaptive
measured amount of noise in the image. This is the recommended setting for the
highest image quality.

5.6.4. Setting the IFMD Threshold

With this control, the user can change the threshold of what is deemed motion for the deinterlacer. The
user can set the IFMD threshold by moving the threshold slider to the left or the right.
The IFMD threshold value ranges from 0 to 15. The threshold can be adjusted in increments of 1. The
IFMD Threshold is set to 8 by default. A value of 8 gives the best overall image quality for a wide variety of
image content.

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5.6.5. Setting the Film Detection Mode

The 7812 series modules have the ability to automatically detect embedded 3:2 and 2:2 sequences. When
such sequences are present inverse 3:2 and 2:2 is performed so that mathematically lossless conversion
back to progressive may be achieved. For optimal performance, the Auto mode of operation is highly
recommended. The Film Detection Mode drop down menu enables the user to set the operating mode as
shown below:

The card will automatically detect video sequences including embedded 3:2 and
embedded 2:2 sequences. Processing will be automatically adapted to match the
Auto detect content. If no film mode sequence is detected, the de-interlacer will
automatically revert to video mode processing. This is the recommended setting
for this control.
The video de-interlacer will operate in video only mode and will utilize its internal
Video Only motion adaptive and edge interpolation process for de-interlacing the input
signal.
The video de-interlacer will search for and lock onto embedded 3:2 sequences
Detect 3:2
and perform inverse 3:2 pull-down to de-interlace the input signal.
The video de-interlacer will search for and lock onto embedded 2:2 sequences
Detect 2:2
and perform inverse 2:2 pull-down to de-interlace the input signal.
The video de-interlacer will search for and lock onto embedded 3:2 or 2:2
Detect 3:2 and 2:2 sequences and perform inverse 3:2 or 2:2 pull-down to de-interlace the input
signal.

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5.7. CONFIGURING THE VIDEO PROCESSING FUNCTIONS

The Video Proc control menu is used to configure parameters associated with the video processing
functions of the converter. Sections 5.7.1 to 5.7.8 provide detailed information about each of the menu
items.

Figure 5-7: Video Proc Tab

" ALL of these parameters affect the video in real time. H&V frequency bands will
cause hits to the video while a new filter is loaded.

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5.7.1. Enabling RGB Clipper

The RGB Clip parameters control RGB clipping/colour legalization process. When set to enable, the
module will clip any illegal levels of R, G, and B (individually) to their respective Black and White Levels. If
disabled, then the illegal values are passed unmodified. This control is normally set to Disable in order to
allow for Super Black or other test patterns to pass through the module.

The module will clip any illegal levels of R, G, and B (individually) to their
Enable
respective Black and White Levels.
Video will pass through this processing block un-modified and illegal RGB
Disable
values will pass.

5.7.2. Setting the Gain Levels

There are eight controls that set the gain of the video. With these controls the user can adjust the gain of
the 3 components in either the Y Cr Cb domain or the R G B domain over a range of -50% to 100% in
0.1% steps. Gain adjustments in the Y, Cb, Cr domain are made first, then gain adjustments in the RGB
domain. Illegal values are clipped after gain adjustments.

Y Gain: Ranges from –50% to 100% in 0.1% increments.

Cb Gain: Ranges from –50% to 100% in 0.1% increments.
Cr Gain: Ranges from –50% to 100% in 0.1% increments.
R Gain: Ranges from –50% to 100% in 0.1% increments.
G Gain: Ranges from –50% to 100% in 0.1% increments.
B Gain: Ranges from –50% to 100% in 0.1% increments.
Saturation Gain: Ranges from –50% to 100% in 0.1% increments.
Video Gain: Ranges from –50% to 100% in 0.1% increments.

5.7.3. Setting the DC Offsets

There are three controls that set the DC Offset of the video signal. With these controls, the user can
individually adjust the DC offset of Y, Cr and Cb with a range of +/- 200 quantization levels.

Y Offset: Ranges from –200 to 200 quantization levels in 1 level increments.

Cb Offset: Ranges from –200 to 200 quantization levels in 1 level increments.
Cr Offset: Ranges from –200 to 200 quantization levels in 1 level increments.

5.7.4. Setting the Hue

With this control the user can adjust the Hue of the video signal. The Hue control can be applied to the
video signal regardless of the type of video signal being applied (SD, HD or 3G).

Hue: Ranges from –180 to 180 degrees in 0.1 degree increments.

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5.7.5. Enabling Gamma Adjust

The Gamma Adjust control enables and disables the gamma adjustment functionality of 7812 series
modules. When enabled, the module will allow the user to adjust the gamma level. If disabled, then the
gamma level is set to 0.

The ability to adjust the gamma of the video signal is enabled. Gamma Level, Red
Enable
Gamma Level, Green Gamma Level, Blue Gamma Levels controls are enabled.
The ability to adjust the gamma of the video signal is disabled. Gamma Level, Red
Disable
Gamma Level, Green Gamma Level, Blue Gamma Levels controls are disabled.

5.7.6. Setting the Gamma Level

With this control the user can adjust the overall Gamma correction factor from - 128 to + 127 in increments
of 1.

Gamma Level: Ranges from –128 to 127 in 1 level increments.

5.7.7. Setting the Red, Green, Blue Gamma Levels

With these controls, the user can individually adjust the Red, Green, and Blue Gamma levels from – 128
to + 127 in increments of 1.

Red Gamma Level: Ranges from –128 to 127 in 1 level increments.

Green Gamma Level: Ranges from –128 to 127 in 1 level increments.
Blue Gamma Level: Ranges from –128 to 127 in 1 level increments.

5.7.8. Reset Button

By pressing the Reset button, all Video Processing parameters in this control tab will return to their default
setting.

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5.8. CONFIGURING THE SCALER

The 7812 series of converters utilize high performance multi-tap polyphase filters to perform scaling and
aspect ratio conversion on the input signal. The Scaler control menus are used to configure the cut-off
frequencies of the polyphase filters and to define the aspect ratio conversion. In addition, the Scaler tab
contains specific controls for managing sharp vertical and horizontal edge transitions so that edge ringing
is minimized. Static side panel colours and output AFD stamping values are also adjusted within this tab.
Sections 5.8.1 to 5.8.5 provide detailed information about each menu items.

Figure 5-8: Scaler Tab

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5.8.1. Slew Settings

5.8.1.1. Slew Limits

There are individual controls for H Slew Rate Limit and V Slew Rate Limit. When enabled, these controls
process sharp spatial transitions so that ringing around such transitions are minimized. When disabled,
the edge processing is disabled.

The H Slew Rate limit control manages sharp horizontal edge transitions.

Enables the H Slew Rate Limiting so that ringing around sharp horizontal edge
Enable
transitions are minimized.
Disable H Slew Rate Limiting is disabled.

The V Slew Rate limit control manages sharp vertical edge transitions.

Enables the V Slew Rate Limiting so that ringing around sharp vertical edge
Enable
transitions are minimized.
Disable V Slew Rate Limiting is disabled.

5.8.2. Set the Colour of the Letterbox Panels

There are three menu items used to set the default side panel colours. Panel colours are used to fill any
“un-used space” in the output image raster when specific aspect ratio conversions are performed (i.e. side
panels generated on the left hand and right hand side of an image when converting 4:3 to 16:9). There are
individual controls for R, G and B components of the side panel.

R: Sets the value for the R component of the default side panel colour with a range of 0 to 255.
G: Sets the value for the G component of the default side panel colour with a range of 0 to 255.
B: Sets the value for the B component of the default side panel colour with a range of 0 to 255.

" The user can use a standard colour picker such as is available in Microsoft Paint to
determine the desired colour values.

5.8.3. Filter Settings

5.8.3.1. Setting the Scaler Filter Sharpness

There are two controls that adjust the horizontal and vertical filters for the scaler. Effectively, these
controls manage the cut-off frequency for the Horizontal and Vertical filters.

The smaller the value, the narrower the corresponding filter bandwidth and the less aliasing passed
through to the output. The larger the value, the wider the corresponding filter bandwidth.

The H Filter Cutoff controls the Horizontal filter bandwidth. It also has several unique filters that have
specific enhancement profiles.

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Selects the horizontal filter bandwidth such that each value 1 thru 64
Levels 1….64
corresponds to 1/64th the bandwidth of the input signal.
The optimal horizontal filter is automatically selected to match the scaling
Auto
and aspect ratio conversion process being performed.
Enhance HF 1 db High frequencies within the image are enhanced by 1 dB
Enhance HF 2 dB High frequencies within the image are enhanced by 2 dB
Mid Band Boost 1 dB Mid band frequencies within the image are enhanced by 1 dB
Mid Band Boost 2 dB Mid band frequencies within the image are enhanced by 2 dB

The V Filter Cutoff controls the Vertical filter bandwidth.

Selects the horizontal filter bandwidth such that each value 1 thru 64
Levels 1….64
corresponds to 1/64th the bandwidth of the input signal.
The optimal horizontal filter automatically selected to match the scaling and
Auto
aspect ratio conversion process being performed.

5.8.4. AFD Stamp

The AFD Stamp control allows the user to specify the AFD signal that will be stamped on the output signal
when the AFD Stamp Source control (within the AFD Control tab) is set to User AFD Stamp. It is possible
to stamp the following AFD values.

16:9 frame, code ‘0010’ AFD code 16:9 frame, code ‘0010’ will be inserted into the outgoing video.
16:9 frame, code ‘0011’ AFD code 16:9 frame, code ‘0011’ will be inserted into the outgoing video.
16:9 frame, code ‘0100’ AFD code 16:9 frame, code ‘0100’ will be inserted into the outgoing video.
16:9 frame, code ‘1000’ AFD code 16:9 frame, code ‘1000’ will be inserted into the outgoing video.
16:9 frame, code ‘1001’ AFD code 16:9 frame, code ‘1001’ will be inserted into the outgoing video.
16:9 frame, code ‘1010’ AFD code 16:9 frame, code ‘1010’ will be inserted into the outgoing video.
16:9 frame, code ‘1011’ AFD code 16:9 frame, code ‘1011’ will be inserted into the outgoing video.
16:9 frame, code ‘1101’ AFD code 16:9 frame, code ‘1101’ will be inserted into the outgoing video.
16:9 frame, code ‘1110’ AFD code 16:9 frame, code ‘1110’ will be inserted into the outgoing video.
16:9 frame code ‘1111’ AFD code 16:9 frame code ‘1111’ will be inserted into the outgoing video.
4:3 frame, code ‘0010’ AFD code 4:3 frame, code ‘0010’ will be inserted into the outgoing video.
4:3 frame, code ‘0011’ AFD code 4:3 frame, code ‘0011’ will be inserted into the outgoing video.
4:3 frame, code ‘0100’ AFD code 4:3 frame, code ‘0100’ will be inserted into the outgoing video.
4:3 frame, code ‘1000’ AFD code 4:3 frame, code ‘1000’ will be inserted into the outgoing video.
4:3 frame, code ‘1001’ AFD code 4:3 frame, code ‘1001’ will be inserted into the outgoing video.
4:3 frame, code ‘1010’ AFD code 4:3 frame, code ‘1010’ will be inserted into the outgoing video.
4:3 frame, code ‘1011’ AFD code 4:3 frame, code ‘1011’ will be inserted into the outgoing video.
4:3 frame code ‘1101’ AFD code 4:3 frame, code ‘1101’ will be inserted into the outgoing video.
4:3 frame code ‘1110’ AFD code 4:3 frame code ‘1110’ will be inserted into the outgoing video.
4:3 frame code ‘1111’ AFD code 4:3 frame code ‘1111’ will be inserted into the outgoing video.

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When each AFD code is selected, a pictorial representation of what the code is intended to mean (see
Figure 5-9)

Figure 5-9: Pictorial Representation

5.8.5. Conversion Settings

5.8.5.1. Setting the Aspect Ratio Conversion

The Aspect Ratio menu selects the aspect ratio conversion that the module will perform. There are
numerous pre-defined aspect ratio conversions as well as the ability to define custom aspect ratio
conversions. When the User Aspect mode is selected, the user can set input image cropping and output
image size on a pixel-by-pixel and line-by-line basis.

Converts the full input raster to full output raster. If the

Full Raster input and output aspect ratios are not equivalent there
will be aspect distortion.
Converts the region of the input raster defined by the
Input H & V Start and Stop values to the region of the
User Aspect
output raster defined by the Output H & V Start and
Stop values with coloured side panels.

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4:3 Side Panel to 16:9 TB Cut

13:9 Letter Box to 16:9 TB Cut These settings convert the input picture to 16:9 top
14:9 Letter Box to 16:9 TB Cut and bottom cuts. Note: For 1080i/1035i inputs these
13:9 Stretch to 16:9 TB Cut functions only work in field mode.
14:9 Stretch to 16:9 TB Cut
16:9 Stretch to 16:9 TB Cut

13:9 Stretch to 4:3 Side Panel These settings squeeze common stretched input
14:9 Stretch to 4:3 Side Panel video back to 4:3 side panel images on a 16:9 aspect
16:9 Stretch to 4:3 Side Panel raster.

4:3 to 4:3 Side Panel on 16:9

4:3 to 13:9 Stretch on 16:9 These settings are common up converter settings for
4:3 to 14:9 Stretch on 16:9
converting 4:3 aspect ratio images to common 16:9
4:3 to 16:9 Stretch on 16:9
4:3 to 13:9 Crop on 16:9
formats. These settings are not appropriate for cross
4:3 to 14:9 Crop on 16:9 or down conversion.
4:3 to 16:9 Crop on 16:9

16:9 to 16:9 Letter Box on 4:3 These settings are common down converter settings
16:9 to 14:9 Letter Box on 4:3
for converting 16:9 aspect ratio images to common 4:3
16:9 to 13:9 Letter Box on 4:3
16:9 to 4:3 Side Cut on 4:3
formats. These settings are not appropriate for cross
16:9 to 4:3 Squeeze on 4:3 or up conversion.

16:9 Top Letter Box on 4:3 to 16:9

14:9 Top Letter Box on 4:3 to 16:9 TB Cut
14:9 Top Letter Box on 4:3 to 14.9 Side Panel
14:9 Top Letter Box on 4:3 to 16:9 Stretch on 16.9
16:9 Top Letter Box on 4:3 to 16:9
14.9 Letter Box on 4:3 to 16:9 TB Cut
14:9 Letterbox on 4:3 to 14.9 Side Panel
14.9 Letterbox on 4.3 to 16.9 Stretch on 16.9

4.3 Side Panel on 16.9 to 4:3

14.9 Side Panel to 14.9 Letter Box on 4:3
14.9 Side Panel to 4:3 Side Cut on 4:3
14.9 Side Panel to 4.3 Squeeze on 4.3

" NOTE: When the module is configured to operate with AFD (AFD Input Enable is set to
Enable and AFD is present on the input video signal) this control will have no effect.

As each of the above settings is selected, a pictorial representation of the selected conversion is show to
the immediate right of the drop down menu as shown in Figure 5-10.

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Figure 5-10: Aspect Ratio Conversion

5.8.5.2. User Aspect Ratio Setting

There are four registers for each input video standard that set the portion of the input picture that will be
converted. These register settings do not have any effect when the pre-defined aspect ratios are used.

The Input H Start and Input H Stop define the horizontal portion of the
Input H Start/ Input H Stop:
input image to process to the output raster.
The Input V Start and Input V Stop define the vertical portion of the input
Input V Start/ Input V Stop:
image to process to the output raster.

There are four registers for each output video standard that define the size of the output image and how to
place the resulting image on the output video raster.

The Output H Start and Output H Stop define how to scale the cropped
input image horizontally and where to place it horizontally on the output
Output H Start/ Output H
raster. The image will be stretched to fill the width. (I.e. For 1080i the
Stop:
range of values are 0 to 1919. The range of values for 720p output is 0
to 1279).
The Output V Start and Output V Stop define how to scale the cropped
Output V Start/ Output V input image vertically and where to place it vertically on the output raster.
Stop: The image will be stretched to fill the height. (E.g. For 1080i, the range of
values are 0 to 539. The range of values for 720p output is 0 to 719).

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A pictorial representation of the input image cropping and output image size is shown to the user right
below the slider bars for the custom aspect ratios as shown in Figure 5-11.

Figure 5-11: Image Cropping and Output Image Size

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5.9. CONFIGURING CLOSED CAPTIONING

The 7812 series of converters extract closed captioning from the input signal and translates it to the output
video signal. The Closed Captioning menus are used to configure parameters associated with the closed
caption handling. Sections 5.9.1 to 5.9.4 provide detailed information about each of the parameters.

Figure 5-12: CC Control Tab

" Any changes to the closed captioning settings can cause a momentary interruption.

5.9.1. Enabling Closed Captioning

This parameter will enable closed caption handling for the module.

When turned On, any closed captioning will be extracted from the input signal,
On and mapped to line 21 if the output video is SD, or to the designated HD write
line (see section 5.9.2) if the output video is HD.
Off When turned Off, no closed captioning is encoded in the output video signal.

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5.9.2. Setting the HD Write Line

The HD Write Line parameter will set the HD line where the HD VANC captions are inserted on the output
HD video as per SMPTE 334M.

5.9.3. Setting the Loss of CC Timeout

This parameter enables the user to set the amount of time (in seconds) before the Closed Captioning
timeouts when the video is lost. To set the Loss of CC Timeout, drag the slider right to decrease or left to
increase the value. The value range is 1 to 600 seconds.

5.9.4. Setting the Caption Services in CEA708

There are eight controls that will map closed caption and text channels into CEA708 caption services. For
simplicity, only the selection control for the CC1 to CEA708 Service control will be shown in the manual.
This parameter will map CC1 into a CEA708 Caption Service. Currently, the modules only support 16
services (1 to 16). When set to off, the CC1 is not mapped to any CEA708 Caption Service.

Off CC1 will not be mapped to a CEA708 Service

1 CC1 will be mapped CEA708 Service 1
2 CC1 will be mapped CEA708 Service 2
3 CC1 will be mapped CEA708 Service 3
4 CC1 will be mapped CEA708 Service 4
5 CC1 will be mapped CEA708 Service 5
6 CC1 will be mapped CEA708 Service 6
7 CC1 will be mapped CEA708 Service 7
8 CC1 will be mapped CEA708 Service 8
9 CC1 will be mapped CEA708 Service 9
10 CC1 will be mapped CEA708 Service 10
11 CC1 will be mapped CEA708 Service 11
12 CC1 will be mapped CEA708 Service 12
13 CC1 will be mapped CEA708 Service 13
14 CC1 will be mapped CEA708 Service 14
15 CC1 will be mapped CEA708 Service 15
16 CC1 will be mapped CEA708 Service 16

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5.10. UTILITIES
The Utilities Control tab is used to control the presets. The user can configure the Recall Preset, Store
User Preset, and enable/disable the Auto Recall Presets function.

Figure 5-13: Utilities Control

5.10.1. Storing and Recalling Configurations to the User Presets or the Factory Preset
The 7812 series of converters can manage 10 user presets.
These 10 presets can store the complete set of card controls.

" There may be a slight disturbance in the operation of the card while the new preset is
being recalled.

5.10.1.1. Recalling Configurations from the User Presets

This control is used to initiate a recall of the current card configuration from one of the user presets.
There are 10 user presets to recall.

Preset 1 Recall User Preset 1

Preset 2 Recall User Preset 2
Preset 3 Recall User Preset 3
Preset 4 Recall User Preset 4
Preset 5 Recall User Preset 5
Preset 6 Recall User Preset 6
Preset 7 Recall User Preset 7
Preset 8 Recall User Preset 8
Preset 9 Recall User Preset 9
Preset 10 Recall User Preset 10

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5.10.1.2. Storing Configurations from the User Presets

This control is used to initiate a store of the current card configuration into one of the user presets. To
store a card configuration to a specific preset, select the preset to which you wish to store the card
settings and press the APPLY button. There are 10 presets to which you can store.

Preset 1 Store to User Preset 1

Preset 2 Store to User Preset 2
Preset 3 Store to User Preset 3
Preset 4 Store to User Preset 4
Preset 5 Store to User Preset 5
Preset 6 Store to User Preset 6
Preset 7 Store to User Preset 7
Preset 8 Store to User Preset 8
Preset 9 Store to User Preset 9
Preset 10 Store to User Preset 10

5.10.1.3. Auto Recall Presets for Specific Video Input/Output Standard Combination
The Auto Recall Presets functionality is used to automatically recall card configurations for specific
combinations of video input and output combinations. The user must define these format dependant card
configurations using VistaLINK® PRO. Once this is complete, they will automatically be recalled once that
particular combination is detected on the module itself. To utilize this functionality, the following steps must
be performed:

1) Enable the Auto Recall Presets functionality in the Utilities control tab.
2) Set the combination of input and output video standards for which you wish to define the card
preset. This is done in Video control tab.
3) Proceed to configure as desired ensuring that you press APPLY each time a parameter is
changed.
4) Proceed to the Video control tab or the Scaler control tab and press the Store Auto Recall Preset
button.
5) Repeat steps 2-4 for each combination of input/output video standards

NOTE:
The Auto Recall Presets functionality should be used with care.

All card parameters are recalled when a new combination of video input/output standards
are detected. When Auto Recall Presets is enabled, changing any particular card
parameter (Y Gain just as an example) will take effect only for that particular combination
of video input/output standards. It will not be stored for all operating modes. When a new

" combination of video input/output standards is detected, a new value for that particular
card parameter may be recalled. Parameters must be specifically set for each
combination of video input/output standards if you desire the same parameter value to be
recalled all the time.

Note that this also includes items like GPIO settings and which User Presets they recall.
If the GPIO settings are not specifically set for each and every possible combination of
video input/output standards the GPIO functions could change when the new video
input/output standard is detected.

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Disable Auto Recall Presets functionality is disabled.

Each time a particular combination of video input/output standards is selected,
Enable the module will automatically recall the defined preset for the combination of
input/output video standards.

5.11. CONFIGURING THE SD APERTURE CONTROL

The precise definition of “active region” for an SD input is sometimes unclear. This is due to the fact that
SD signals have been defined differently in various standards. The SD Aperture control allows the user to
set the exact pixels and exact lines that are used to define the SD Clean Aperture and the SD Production
Aperture. Both the Clean Aperture and the Production Aperture are independently definable. The user
may define whether to use the Clean Aperture or the Production Aperture to determine the pixel aspect
ratio for conversions.

Figure 5-14: SD Aperture Control Tab

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5.11.1. Selecting Ap Aspect Ratio Source

The AP Aspect Ratio Source control selects whether the Production Aperture or the Clean Aperture is
used when converting input signals.

Production Selects the Production Aperture to be used when converting input signals.
Clean Selects the Clean Aperture to be used when converting input signals.

5.11.1.1. Ap Aspect Ratio Settings

These controls allow the user to define the exact pixels and exact lines that are used to define the SD
Clean Aperture and the SD Production Aperture. As this process is done, a pictorial representation of the
defined region is depicted (as shown in Figure 5-15).

Figure 5-15: SD Aperture Control

By moving the slider bar up and down you can define the first
First Pixel Num in SD Prod Aperture
active horizontal pixel for the SD Production Aperture.
By moving the slider bar up and down you can define the last
Last Pixel Num in SD Prod Aperture
active horizontal pixel for the SD Production Aperture.
By moving the slider bar up and down you can define the first
First Line Num in SD Prod Aperture
active line for the SD Production Aperture.
By moving the slider bar up and down you can define the last
Last Line Num in SD Prod Aperture
active line for the SD Production Aperture.

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By moving the slider bar up and down you can define the first
First Pixel Num in SD Clean Aperture
active horizontal pixel for the SD Clean Aperture.
By moving the slider bar up and down you can define the last
Last Pixel Num in SD Clean Aperture
active horizontal pixel for the SD Clean Aperture.
By moving the slider bar up and down you can define the first
First Line Num in SD Clean Aperture
active line for the SD Clean Aperture.
By moving the slider bar up and down you can define the last
Last Line Num in SD Clean Aperture
active line for the SD Clean Aperture.

5.12. CONFIGURING THE IMAGE ENHANCEMENT CONTROL

Figure 5-16: Image Enhancement Tab

5.12.1.1. Image Enhancement Enable

Setting this control to Enable will enable the Image Enhancement Control settings. Setting this control to
Disable will disable the Image Enhancement Control functionality.

Enable Enables the image enhancement process.

Disable Disables the image enhancement process.

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5.12.2. Setting the Detail Gain

This control selects the level of the detail gain with a range of 0 to 127, where 0 refers to no increase in
detail gain. A typical range for this control is 0 to 50. Higher values will normally distort the image beyond
the range that is normally considered acceptable.

5.12.3. Setting the Enhancement Limit

This control selects the largest detail value to be added back into the signal. The range is from 0 to 63.
Detail that has a value larger than this value will be clipped.

5.12.4. Setting the Horizontal Band

This control selects the Horizontal frequency band to be enhanced. The horizontal band is adjusted in
increments of 5, where 0 selects the lowest frequency band available and 20 the highest.

5.12.5. Setting the Vertical Intensity

This control selects the intensity of the vertical enhancement process, as a ratio of the Horizontal
enhancement. The range is 0 to 100% in increments of 25% where 0% refers to no Vertical enhancement
and 100% provides a Vertical intensity that is equivalent to the Horizontal.

5.12.6. Setting the Luma Floor

This control selects the minimum Luma value that will be enhanced with a range of 0 to 15. Pixels with a
value below this floor will be left untouched.

5.12.7. Setting the Detail Noise Floor

When the image detail has a value that is below this floor it will be deemed to consist mostly of noise. As
such, the pixel associated with that detail level would be left untouched.

" By pressing the Reset button, all Image Enhancement Controls will return to their
default setting.

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5.13. CONFIGURING THE AFD CONTROL

The 7812 series of converters are fully AFD enabled and offer frame accurate and glitch steering of aspect
ratio conversions based on AFD signals decoded from incoming video signals. This applies for all
variations of the 7812 series product line including down-converters, up-converters as well as
up/down/cross converters.

Within the 7812 series of products, AFD values are monitored and read from the incoming video signal
every frame. These inbound AFD codes are then used to index a user programmable ARC/Scaler
response. Each incoming AFD code can have its own unique ARC/Scaler response. AFD codes are then
re-stamped on the outbound video signal so that down-stream devices may further take advantage of the
embedded AFD codes.

There are two main control tabs for AFD. These are the AFD Control and the AFD ARC control tabs.
The following diagram depicts the AFD Control tab.

Figure 5-17: AFD Control Tab

5.13.1. Configuring the AFD Input Enable Control

This control enables and disables the input side AFD processing. When Enabled, the module will decode
incoming AFD values and adapt its processing to those AFD codes. When Disabled, the module will not
decode incoming AFD values. When incoming AFD codes are not decoded, automatic steering of ARC
processing based on AFD presets is not possible.

Incoming AFD values will be decoded and the module will adapt its processing to those
Enable
AFD codes.
Incoming AFD values will not be decoder. When incoming AFD codes are not decoded,
Disable
automatic steering of ARC processing based on AFD presets is not possible.

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5.13.2. Setting the Loss of AFD Mode Control

This control enables the user to configure the action that the converter will take when incoming AFD
signals are lost or not present. When incoming AFD signals are lost or not present, the module can revert
to a default ARC/Scaler setting or continue to use the last valid AFD received to steer conversions. The
user can set this action by selecting one of the options from the drop down menu.

When incoming AFD values are absent, ARC processing will revert to default
Default ARC
ARC processing as defined in the Scaler control tab.
When incoming AFD values are absent, ARC processing will use the last valid
Use Last AFD
AFD code received to automatically steer ARC processing.

5.13.3. Setting the AFD Stamp Source

This control enables the user to set the source for output AFD stamping. The user may configure the card
to use the AFD value automatically generated by the scaler and its setting or to stamp a user defined AFD
value.

AFD values stamped on the outbound video signal will be those AFD values
automatically generated by the scaler and its settings. The AFD Stamp control will
Use Scaler
be disabled in the Scaler control tab and the AFD ARC control tab since AFD
values will automatically be generated by the scaler.
User AFD AFD values stamping on the outbound video signal will be the user specified AFD
Stamp value.

5.13.4. Setting the Output SD Aspect Ratio

This control enables the user to define whether SD outputs should be stamped with an AFD value that
indicates a 16:9 or 4:3 output image raster. To set the aspect ratio, use the Output SD Aspect Ratio drop
down menu to select the appropriate aspect ratio.

4:3 AFD codes for SD outputs will be defined with a 4:3 output image raster AFD code.
16:9 AFD codes for SD outputs will be defined with a 16:9 output image raster AFD code.

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5.13.5. Configuring the AFD Output Enable Control

This control enables and disables the insertion of AFD packets in the outgoing video signal.

Disable AFD codes will NOT be inserted into the outgoing video signal.
Enable AFD codes will be inserted into the outgoing video signal.

5.13.6. Setting the AFD Output Line

This control defines the line on which AFD packets will be inserted into the outgoing video signal when
AFD packet insertion is enabled. The user can set the output line using the AFD Output Line slider. Drag
the slider right to increase the value or move it left to decrease the value of the AFD Output line. The valid
range is from 7 to 24 with a default of line 9.

5.14. CONFIGURING THE AFD ARC CONTROLS

The AFD ARC control tab is the key section that enables the user to define the automatic steering of
Aspect Ratio Conversions in response to incoming AFD codes. For each incoming AFD code, the user
may specify a unique ARC/Scaler operating mode and a unique output AFD code. In this way, incoming
AFD codes are effectively treated as “virtual GPIs” that recall scaler specific card presets.

To properly configure the 7812 series cards for AFD, proceed to the AFD ARC control tab. Select an AFD
code using the AFD Select drop down menu. This corresponds to the inbound AFD value for which you
will define a specific ARC/Scaler response. In the Conversion section, select the specific ARC processing
that you would like to occur every time that specified input side AFD code is received. Furthermore,
specify the outbound AFD code in the AFD stamp section. Note that the AFD Stamp control is enabled
only when the AFD Stamp Source is set to User AFD Stamp. Once all settings are selected, press the
Apply button on the top of the control tab. If using the Auto Recall Preset function you should also press
the ‘Store to auto recall preset’ button. Perform this process for each incoming AFD value.

Note that it is possible for each combination of input and output video standards to have their own unique
set of AFD code responses. This can be done using the Auto Recall Preset function. When doing so, the
first step in defining automatic AFD processing is to first consider your input and output video standards.
Select the appropriate input and output video standards within the VIDEO control tab and press the Apply
button. Following this, complete the process outlined in the preceding paragraph. Be sure to complete this
process for each relevant combination of input and output video standards.

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Figure 5-18: AFD ARC Tab

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5.14.1. Setting the AFD Select

This control enables the user to select the incoming AFD code to which a scaler response will be defined.
Use the drop down menu as shown below (in Figure 5-19) to select an AFD code. As each menu item is
selected a pictorial representation of the actual aspect ratio being selected is shown on the right hand side
of the screen beside the drop down selection.

Figure 5-19: AFD Select

The following AFD codes may be selected.

16:9 frame, code ‘0010’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘0010’
16:9 frame, code ‘0011’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘0011’
16:9 frame, code ‘0100’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘0100’
16:9 frame, code ‘1000’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘1000’
16:9 frame, code ‘1001’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘1001’
16:9 frame, code ‘1010’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘1010’
16:9 frame, code ‘1011’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘1011’
16:9 frame, code ‘1101’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘1101’
16:9 frame, code ‘1110’ Scaler/ARC responses will be defined for AFD code 16:9 frame, code ‘1110’
16:9 frame code ‘1111’ Scaler/ARC responses will be defined for AFD code 16:9 frame code ‘1111’
4::3 frame, code ‘0010’ Scaler/ARC responses will be defined for AFD code 4::3 frame, code ‘0010’
4:3 frame, code ‘0011’ Scaler/ARC responses will be defined for AFD code 4:3 frame, code ‘0011’
4:3 frame, code ‘0100’ Scaler/ARC responses will be defined for AFD code 4:3 frame, code ‘0100’
4:3 frame, code ‘1000’ Scaler/ARC responses will be defined for AFD code 4:3 frame, code ‘1000’
4:3 frame, code ‘1001’ Scaler/ARC responses will be defined for AFD code 4:3 frame, code ‘1001’
4:3 frame, code ‘1010’ Scaler/ARC responses will be defined for AFD code 4:3 frame, code ‘1010’
4:3 frame, code ‘1011’ Scaler/ARC responses will be defined for AFD code 4:3 frame, code ‘1011’
4:3 frame code ‘1101’ Scaler/ARC responses will be defined for AFD code 4:3 frame code ‘1101’
4:3 frame code ‘1110’ Scaler/ARC responses will be defined for AFD code 4:3 frame code ‘1110’
4:3 frame code ‘1111’ Scaler/ARC responses will be defined for AFD code 4:3 frame code ‘1111’

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5.14.2. Setting the AFD Stamp

This control enables the user to specify the outgoing AFD code. This control is enabled only when the
AFD Stamp Source is set to User AFD Stamp. Use the AFD Stamp drop down menu to select the
appropriate out-bound AFD code. There are 16 AFD codes to choose from. As each AFD code is
selected, a pictorial representation of what that AFD code means is shown in the right hand side of the
screen.

Figure 5-20: AFD Code Description

16:9 frame, code ‘0010’ AFD code 16:9 frame, code ‘0010’ will be inserted into the outgoing video.
16:9 frame, code ‘0011’ AFD code 16:9 frame, code ‘0011’ will be inserted into the outgoing video.
16:9 frame, code ‘0100’ AFD code 16:9 frame, code ‘0100’ will be inserted into the outgoing video.
16:9 frame, code ‘1000’ AFD code 16:9 frame, code ‘1000’ will be inserted into the outgoing video.
16:9 frame, code ‘1001’ AFD code 16:9 frame, code ‘1001’ will be inserted into the outgoing video.
16:9 frame, code ‘1010’ AFD code 16:9 frame, code ‘1010’ will be inserted into the outgoing video.
16:9 frame, code ‘1011’ AFD code 16:9 frame, code ‘1011’ will be inserted into the outgoing video.
16:9 frame, code ‘1101’ AFD code 16:9 frame, code ‘1101’ will be inserted into the outgoing video.
16:9 frame, code ‘1110’ AFD code 16:9 frame, code ‘1110’ will be inserted into the outgoing video.
16:9 frame code ‘1111’ AFD code 16:9 frame code ‘1111’ will be inserted into the outgoing video.
4::3 frame, code ‘0010’ AFD code 4::3 frame, code ‘0010’ will be inserted into the outgoing video.
4:3 frame, code ‘0011’ AFD code 4:3 frame, code ‘0011’ will be inserted into the outgoing video.
4:3 frame, code ‘0100’ AFD code 4:3 frame, code ‘0100’ will be inserted into the outgoing video.
4:3 frame, code ‘1000’ AFD code 4:3 frame, code ‘1000’ will be inserted into the outgoing video.
4:3 frame, code ‘1001’ AFD code 4:3 frame, code ‘1001’ will be inserted into the outgoing video.
4:3 frame, code ‘1010’ AFD code 4:3 frame, code ‘1010’ will be inserted into the outgoing video.
4:3 frame, code ‘1011’ AFD code 4:3 frame, code ‘1011’ will be inserted into the outgoing video.
4:3 frame code ‘1101’ AFD code 4:3 frame code ‘1101’ will be inserted into the outgoing video.
4:3 frame code ‘1110’ AFD code 4:3 frame code ‘1110’ will be inserted into the outgoing video.
4:3 frame code ‘1111’ AFD code 4:3 frame code ‘1111’ will be inserted into the outgoing video.

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5.14.3. Conversion Settings

5.14.3.1. Setting the Aspect Ratio Conversion

The Aspect Ratio Conversion menu is used to select the ARC processing that the card will perform in
response to the selected incoming AFD code.

Figure 5-21: Conversion Screen

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There are numerous pre-defined aspect ratio conversions available, as well as the ability to define custom
aspect ratio conversions. When the User Aspect mode is selected, the user can set input image cropping
and output image size on a pixel-by-pixel and line-by-line basis.

Converts the full input raster to full output raster. If the

Full Raster input and output aspect ratios are not equivalent there will
be aspect distortion.
Converts the region of the input raster defined by the Input
H & V Start and Stop values to the region of the output
User Aspect
raster defined by the Output H & V Start and Stop values
with coloured side panels.

4:3 Side Panel to 16:9 TB Cut

13:9 Letter Box to 16:9 TB Cut These settings convert the input picture to 16:9 top and
14:9 Letter Box to 16:9 TB Cut bottom cuts. Note: For 1080i/1035i inputs these
13:9 Stretch to 16:9 TB Cut functions only work in field mode.
14:9 Stretch to 16:9 TB Cut
16:9 Stretch to 16:9 TB Cut

13:9 Stretch to 4:3 Side Panel

These settings squeeze common stretched input video
14:9 Stretch to 4:3 Side Panel
back to 4:3 side panel images on a 16:9 aspect raster.
16:9 Stretch to 4:3 Side Panel

4:3 to 4:3 Side Panel on 16:9

4:3 to 13:9 Stretch on 16:9
These settings are common upconverter settings for
4:3 to 14:9 Stretch on 16:9
converting 4:3 aspect ratio images to common 16:9
4:3 to 16:9 Stretch on 16:9
formats. These settings are not appropriate for cross or
4:3 to 13:9 Crop on 16:9
down conversion.
4:3 to 14:9 Crop on 16:9
4:3 to 16:9 Crop on 16:9
16:9 to 16:9 Letter Box on 4:3
These settings are common down converter settings for
16:9 to 14:9 Letter Box on 4:3
converting 16:9 aspect ratio images to common 4:3
16:9 to 13:9 Letter Box on 4:3
formats. These settings are not appropriate for cross or up
16:9 to 4:3 Side Cut on 4:3
conversion.
16:9 to 4:3 Squeeze on 4:3
16:9 Top Letter Box on 4:3 to 16:9
14:9 Top Letter Box on 4:3 to 16:9 TB Cut
14:9 Top Letter Box on 4:3 to 14.9 Side Panel
14:9 Top Letter Box on 4:3 to 16:9 Stretch on 16.9
16:9 Top Letter Box on 4:3 to 16:9
14.9 Letter Box on 4:3 to 16:9 TB Cut
14:9 Letterbox on 4:3 to 14.9 Side Panel
14.9 Letterbox on 4.3 to 16.9 Stretch on 16.9

4.3 Side Panel on 16.9 to 4:3

14.9 Side Panel to 14.9 Letter Box on 4:3
14.9 Side Panel to 4:3 Side Cut on 4:3
14.9 Side Panel to 4.3 Squeeze on 4.3

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There are four registers for each input video standard that set the portion of the input picture that will be
converted. These register settings do not have any effect when the pre-defined aspect ratios are used.

Input H Start/ Input H The Input H Start and Input H Stop define the horizontal portion of the
Stop: input image to process to the output raster.
Input V Start/ Input V The Input V Start and Input V Stop define the vertical portion of the
Stop: input image to process to the output raster.

When operating with User Defined aspect ratio conversions, there are four registers for each output video
standard that defines the size of the output image and how to place the resulting image on the output
video raster.

The Output H Start and Output H Stop define how to scale the cropped
input image horizontally and where to position it horizontally on the
Output H Start/ Output H
output raster. The image will be stretched to fill the width. (i.e. For
Stop:
1080i the range of values are 0 to 1919. The range of values for 720p
output is 0 to 1279).
The Output V Start and Output V Stop define how to scale the cropped
input image vertically and where to position it vertically on the output
Output V Start/ Output V
raster. The image will be stretched to fill the height. (E.g. For 1080i,
Stop:
the range of values are 0 to 539. The range of values for 720p output
is 0 to 719).

5.15. CONFIGURING THE NOISE CONTROLS

The Noise Control tab is used to configure parameters associated with the video noise reduction
processing. There are three different types of noise reduction supported in the 7812 series products
including Mosquito Noise Reduction (MNR), Block Artifact Reduction (BAR) and General Noise Reduction.
The General Noise Reduction section is a motion adaptive spatial-temporal and recursive noise filter.

Figure 5-22: Noise Control Tab

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5.15.1. Setting the Noise Reduction Levels

The General Noise Reduction, the BAR noise reducer and the MNR noise reducer all have the same
controls; Bar Level, and the MNR Level. For the sake of brevity, only the General Noise Reducer will be
discussed in this manual.
The General Level controls the strength of the applied General Noise Reduction filter. Select the level of
noise reduction to be applied by selecting the appropriate value from the drop down menu as shown
below.

Off General noise reduction will not be enabled.

Low A Low level of general noise reduction will be applied.
Medium Low A Medium Low level of general noise reduction will be applied.
Medium A Medium level of general noise reduction will be applied.
Medium High A Medium High level of general noise reduction will be applied.
High A High level of general noise reduction will be applied.

" Note: Setting the value higher than needed to remove the noise present, will over
soften areas of low amplitude, fine details.

" Note: Setting the value too low may cause the circuitry to leave random noise that it
could remove. However, removal of low-level details will be minimized

5.16. CONFIGURING THE SCTE104

The SCTE104 Control Tab manages the process of passing SCTE104 packets from the card’s input to the
card’s output.

Figure 5-23: SCTE104 Tab

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5.16.1. Enabling the SCTE104 Control

The Enable control simply enables and disables the re-insertion of SCTE104 packets in the outgoing
video signal. When set to Enable, the SCTE104 packets will be re-inserted into the outgoing video signal.
When set to Disable, SCTE104 packets will not be re-inserted into the outgoing video signal.

Enable SCTE104 packets will be re-inserted into the outgoing video signal.
Disable SCTE104 packets will not be re-inserted into the outgoing video signal.

5.16.2. Setting the Line Out

This control enables the user to set the specific line onto which SCTE104 packets will be inserted on the
outgoing video signal. Drag the slider right to increase the value number and drag it left to decrease the
value number. The value range is from 7 to 24 with a default value of 9. The Line Out control can be
modified in increments of 1.

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5.17. SETTING THE CC FAULT TRAP CONTROLS

The CC Fault Traps control enables the user to enable or disable Closed Caption traps and view trap
status. To enable a particular trap, simply click the box located beside each trap so that a check-mark
appears. When a check-mark is present, the trap is enabled. When a check-mark is not present, the trap
is disabled.

If a parameter under the Trap Status is green, then the trap is present. If the parameter is red, then the
trap is missing.

Figure 5-24: CC Fault Traps Tab

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5.18. SETTING THE AUDIO/VIDEO TRAPS

This control allows the user to enable Audio and Video traps and monitor the trap status. To enable a
particular trap, simply click the box located beside each trap so that a check-mark appears. When a
check-mark is present, the trap is enabled. When a check-mark is not present, the trap is disabled.

If a parameter under the Trap Status is green, then the trap is present. If the parameter is red, then the
trap is missing.

Figure 5-25: Audio/Video Traps Tab

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5.19. CONFIGURING THE GPIO CONTROLS

This Control tab allows the user to define the direction and function of each of the module’s GPIOs. For
the sake of brevity, only the controls for GPIO1 will be discussed. GPIO2 to 4 operates in the same
fashion.

GPIO1 may be configured to be a GPI or a GPO. When set to operate as a GPI, the user may use the GPI
to recall a card preset or trigger the playing/looping of a particular set of side panel logos. When set to be
a GPO, the user may use the GPO to “tally” a particular logo that is being played/looped or a particular
card preset that has been selected.

Figure 5-26: GPIO Tab

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5.19.1. Recall Presets via GPIs

To use GPIO1 as a GPI and to further configure it for recalling a card preset, click on the “Recall Present”
radio button. Ensure that a black dot is present inside this circle. The 7812 series converter modules
provide ten user presets, which can be recalled when GPIO1 is activated. Using the drop down menu,
select which user preset should be recalled when GPIO1 is activated.

User1 Recall User Preset 1

User2 Recall User Preset 2
User3 Recall User Preset 3
User4 Recall User Preset 4
User5 Recall User Preset 5
User6 Recall User Preset 6
User7 Recall User Preset 7
User8 Recall User Preset 8
User9 Recall User Preset 9
User10 Recall User Preset 10

The Recall Preset control is used to set which preset will be recalled by the respective GPI input if it is
closed to ground.

GPI settings are also stored in the User Presets in addition to the other settings. If the

" GPI settings are not the same for each video input and output combination, unexpected
results may occur. In other words, make sure your GPI settings are the same for each
User Preset.

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5.19.2. Play Logo Settings

To use GPIO1 as a GPI and to further configure it for playing a particular logo, click on the “Play Logo”
radio button. Ensure that a black dot is present inside this circle. The 7812 series converter modules can
support up to ten logo sets which can be recalled when GPIO1 is activated. Using the drop down menu,
select which logo should be recalled when GPIO1 is activated.

Logo 1 A+B Play Logo 1 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 2 A+B Play Logo 2 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 3 A+B Play Logo 3 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 4 A+B Play Logo 4 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 5 A+B Play Logo 5 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 6 A+B Play Logo 6 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 7 A+B Play Logo 7 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 8 A+B Play Logo 8 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 9 A+B Play Logo 9 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 10 A+B Play Logo 10 A+B (A is the left hand side logo and B is the right hand side logo)

5.19.3. Play Logo Loop Settings

To use GPIO1 as a GPI and to further configure it for playing and looping a particular logo, click on the
“Play Loop Logo” radio button. Ensure that a black dot is present inside this circle. The 7812 series
converter modules can support 10 logo sets which can be recalled, played and looped when GPIO1 is
activated. Using the drop down menu, select which logo should be recalled when GPIO1 is activated.

Logo 1 A+B Play and Loop Logo 1 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 2 A+B Play and Loop Logo 2 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 3 A+B Play and Loop Logo 3 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 4 A+B Play and Loop Logo 4 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 5 A+B Play and Loop Logo 5 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 6 A+B Play and Loop Logo 6 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 7 A+B Play and Loop Logo 7 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 8 A+B Play and Loop Logo 8 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 9 A+B Play and Loop Logo 9 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 10 A+B Play and Loop Logo 10A+B (A is the left hand side logo and B is the right hand side logo)

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5.19.4. Tally Logo Settings

To use GPIO1 as a GPO, and to further configure its tallying or indicating when a particular logo is playing,
click on the “Tally Logo” radio button. Ensure that a black dot is present inside this circle. The 7812 series
converter modules support ten logos whose status can be reported in this way.

Logo 1 A+B Tally status of Logo 1 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 2 A+B Tally status of Logo 2 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 3 A+B Tally status of Logo 3 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 4 A+B Tally status of Logo 4 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 5 A+B Tally status of Logo 5 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 6 A+B Tally status of Logo 6 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 7 A+B Tally status of Logo 7 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 8 A+B Tally status of Logo 8 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 9 A+B Tally status of Logo 9 A+B (A is the left hand side logo and B is the right hand side logo)
Logo 10 A+B Tally status of Logo 10 A+B (A is the left hand side logo and B is the right hand side logo)

5.19.5. Tally Preset Settings

To use GPIO1 as a GPO and to further configure its tallying or indicating when a card preset has been
selected, click on the “Tally Preset” radio button. Ensure that a black dot is present inside this circle. The
7812 series converter modules support ten card presets whose status can be reported in this way.

User1 Tally status of Preset 1

User2 Tally status of Preset 2
User3 Tally status of Preset 3
User4 Tally status of Preset 4
User5 Tally status of Preset 5
User6 Tally status of Preset 6
User7 Tally status of Preset 7
User8 Tally status of Preset 8
User9 Tally status of Preset 9
User10 Tally status of Preset 10

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5.20. CONFIGURING THE AUDIO 5.1 DOWN MIX CONTROLS

The 7812 series of modules can perform 5.1 PCM to stereo (LtRt or LoRo) down mixing. This is a
standard feature in all variations of the module.

Figure 5-27: Audio 5.1 Down Mix Tab

5.20.1. Setting the Source Select Controls

The Source Select section enables the user to assign a particular channel to be used as a particular audio
source in the down mix. There are five sources of audio that feeds the down-mixing process: L Source, R
Source, C Source, LFE Source, Ls Source, and Rs Source. Each of these sources can be assigned a
specific channel of audio using the appropriate drop down menu. For sake of brevity, only the L Source
selection process is shown.

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To assign a channel to L Source, navigate to the source and select a channel from the adjacent drop
down menu. The following sources of audio are available:

Channel 1 Select Channel 1 for the L Source

Channel 2 Select Channel 2 for the L Source
Channel 3 Select Channel 3 for the L Source
Channel 4 Select Channel 4 for the L Source
Channel 5 Select Channel 5 for the L Source
Channel 6 Select Channel 6 for the L Source
Channel 7 Select Channel 7 for the L Source
Channel 8 Select Channel 8 for the L Source
Channel 9 Select Channel 9 for the L Source
Channel 10 Select Channel 10 for the L Source
Channel 11 Select Channel 11 for the L Source
Channel 12 Select Channel 12 for the L Source
Channel 13 Select Channel 13 for the L Source
Channel 14 Select Channel 14 for the L Source
Channel 15 Select Channel 15 for the L Source
Channel 16 Select Channel 16 for the L Source

5.20.2. Setting the Down Mix Type Controls

5.20.2.1. Setting the Output Scaling Mode

This controls whether the down mix matrix is normalized or not. Select Overflow Scaling from the drop
down menu to normalize the matrix coefficients. Normalization of matrix coefficients will avoid any
possibility of overflow, but it tends to lower the loudness level when compared against the original 5.1
input. If no normalization is applied, the stereo down-mix usually sounds at similar levels as the 5.1 audio
input, but clipping may occur when the input sound level is close to 0dB FS. The Output Scaling Mode
drop down provides the following options:

If no normalization is applied, the stereo down-mix usually sounds at the

No Scaling similar levels as the 5.1 audio input, but clipping may occur when input
sound level is close to 0dB FS.
Select Overflow Scaling to normalize the matrix coefficients. Normalization
Overflow Scaling of matrix coefficients will avoid any possibility of overflow, but it tends to
lower the loudness level when compared against the original 5.1 input.

5.20.2.2. Setting the Output Gain

This control enables the user to configure the output gain. To adjust the output gain control, drag the slider
right to increase the gain value or drag the slider left to decrease the gain control. The output gain ranges
from -20 dB to +20 dB in 0.1 dB increments.

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5.20.2.3. Setting the LFE Mixing Control

This control enables the user to control whether the LFE channel is included or not in the audio down-
mixing. Note that the LFE Gain control is in effect only when LFE Gain is selected. The LFE Mixing Control
drop down menu provides the following options:

No Mixing The LFE channel will not be included in the down-mix.

The LFE channel will be included in the down-mix with gain for the LFE
LFE Gain
channel defined by the LFE Gain control.

5.20.2.4. Setting the Surround Phase Control

This control manages whether or not a 90 degree phase shift is applied to the surround channels before
being passed to down-mix matrix. Select 0 degree if no 90-degree phase shift is needed. It is required
that surround channels are 90-degree phase shifted for Dolby Prologic I decoding, but if surround
channels in the 5.1 audio input are already 90-degree phase shifted, then user should select 0 degree to
avoid double 90-degree phase shifting. Normally, the 90 degrees phase shift is applied. The Surround
Phase drop down menu appears as follows:

No phase shift is applied to the surround channels before being passed

0 degrees
to down.
A 90 degree phase shift is applied to the surround channels before
90 degrees
being passed to down.

5.20.2.5. Setting the Down Mix Type Control

This control enables the user to set the type of audio down-mixing that will be performed. The user may
select from LoRo (Left Only and Right Only), LtRt (Left Total and Right Total) Prologic I and LtRt (Left
Total and Right Total) Prologic II OR may choose to perform a Custom down-mix.

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When set to LoRo, the down-mixer will generate Left Only and Right Only
LoRo
(LoRo) stereo audio.
When set to LtRt (Prologic I), the down-mixer will generate Left Total and
LtRt (Prologic I)
Right Total (LtRt) Prologic I compatible stereo audio.
When set to LtRt (Prologic II), the down-mixer will generate Left Total and
LtRt (Prologic II)
Right Total (LtRt) Prologic II compatible stereo audio.
When set to custom, the down-mixer will generate Left and Right channels
Custom
of audio using the custom down-mixing equations.

5.20.2.5.1. Custom Down Mix Type Control Settings

When the Down Mix Type is set to Custom the following equation will be used to generate the down-mixed
audio.

L = (LR_lev * L + C_lev * C + Ls_lev_L * Ls{0°/90°} + Rs_lev_L * Rs{0°/90°} + lfe_gain * LFE) * gain / norm
R = (LR_lev * R + C_lev * C + Ls_lev_R * Ls{0°/90°} + Rs_lev_R * Rs{0°/90°} + lfe_gain * LFE) * gain / norm

Where lfe_gain is controlled by LFE Mixing and LFE Gain, gain is controlled by Output Gain and norm is
controlled by Output Scaling Mode and where LR_lev, C_lev, Ls_lev_L, Rs_lev_L, Ls_lev_R and
Rs_lev_R are custom specified user coefficients. These custom down-mixing coefficients are controlled
using the appropriate slider bars in the Down Mix Type control section as shown below.

LR_lev: Ranges from 1.000 to –1.000 in increments of .001 increments.

C_lev: Ranges from 1.000 to –1.000 in increments of .001 increments.
Ls_lev_L: Ranges from 1.000 to –1.000 in increments of .001 increments.
Rs_lev_L: Ranges from 1.000 to –1.000 in increments of .001 increments.
Ls_lev_R: Ranges from 1.000 to –1.000 in increments of .001 increments.
Rs_lev_R: Ranges from 1.000 to –1.000 in increments of .001 increments.

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5.21. CONFIGURING THE DOLBY METADATA ENCODER CONTROLS

The 7812 series of modules have the ability to author Dolby Metadata and insert that information into the
VANC of the outgoing video signal. The Dolby Metadata Encoder control tab sets some high level
parameters for the Dolby metadata insertion process.

Figure 5-28: Dolby Metadata Encoder Tab

5.21.1. Setting the Out Enable Control

This control allows the user to enable or disable the Dolby Metadata Encoder. When set to Disable, Dolby
Metadata authoring and insertion will not be enabled. When set to Enable, Dolby Metadata authoring and
insertion will be enabled.

Enable Dolby Metadata authoring and insertion will be enabled.

Disable Dolby Metadata authoring and insertion will not be enabled.

5.21.1.1. Setting the Output Line Control

This control enables the user to adjust the line on which Dolby metadata is encoded. To adjust the
control, drag the slider right to increase the value and left to decrease the value. The Output Line value
ranges from 7 to 41 in increments of 1 line. The default setting is 18.

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5.21.1.2. Setting the Output DID Control

This control sets the DID for the Dolby Metadata ancillary data packets. Use the drop down menu as
shown below to pick the desired DID.

0x45 0x45 is selected for the DID for the Dolby Metadata ANC data packet.
0x50 0x50 is selected for the DID for the Dolby Metadata ANC data packet.
0x51 0x51 is selected for the DID for the Dolby Metadata ANC data packet.
0x52 0x52 is selected for the DID for the Dolby Metadata ANC data packet.
0x53 0x53 is selected for the DID for the Dolby Metadata ANC data packet.
0x54 0x54 is selected for the DID for the Dolby Metadata ANC data packet.
0x55 0x55 is selected for the DID for the Dolby Metadata ANC data packet.
0x56 0x56 is selected for the DID for the Dolby Metadata ANC data packet.
0x57 0x57 is selected for the DID for the Dolby Metadata ANC data packet.
0x58 0x58 is selected for the DID for the Dolby Metadata ANC data packet.
0x59 0x59 is selected for the DID for the Dolby Metadata ANC data packet.
0x5A 0x5A is selected for the DID for the Dolby Metadata ANC data packet.
0x5B 0x5B is selected for the DID for the Dolby Metadata ANC data packet.
0x5C 0x5C is selected for the DID for the Dolby Metadata ANC data packet.
0x5D 0x5D is selected for the DID for the Dolby Metadata ANC data packet.
0x5E 0x5E is selected for the DID for the Dolby Metadata ANC data packet.
0x5F 0x5F is selected for the DID for the Dolby Metadata ANC data packet.
0xC0 0xC0 is selected for the DID for the Dolby Metadata ANC data packet.
0xC1 0xC1 is selected for the DID for the Dolby Metadata ANC data packet.
0xC2 0xC2 is selected for the DID for the Dolby Metadata ANC data packet.
0xC3 0xC3 is selected for the DID for the Dolby Metadata ANC data packet.
0xC4 0xC4 is selected for the DID for the Dolby Metadata ANC data packet.
0xC5 0xC5 is selected for the DID for the Dolby Metadata ANC data packet.
0xC6 0xC6 is selected for the DID for the Dolby Metadata ANC data packet.
0xC7 0xC7 is selected for the DID for the Dolby Metadata ANC data packet.
0xC8 0xC8 is selected for the DID for the Dolby Metadata ANC data packet.
0xC9 0xC9 is selected for the DID for the Dolby Metadata ANC data packet.
0xCA 0xCA is selected for the DID for the Dolby Metadata ANC data packet.
0xCB 0xCB is selected for the DID for the Dolby Metadata ANC data packet.
0XCC 0XCC is selected for the DID for the Dolby Metadata ANC data packet.
0xCD 0xCD is selected for the DID for the Dolby Metadata ANC data packet.
0xCE 0xCE is selected for the DID for the Dolby Metadata ANC data packet.
0xCF 0xCF is selected for the DID for the Dolby Metadata ANC data packet.

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5.21.1.3. Setting the SDID Control

This control sets the output SDID for the Dolby Metadata ancillary data packets. To adjust the control,
drag the slider right to increase the value and left to decrease the value. The SDID Control value ranges
from 0x1 to0xFF. The default value is 0x1.

5.21.1.4. Setting the Program Config Control

This control enables the user to set the control for the program configuration of the Dolby Metadata
encoder. This parameter defines how the audio channels are grouped within a Dolby bitstream. Up to
eight channels can be grouped together in individual programs, where each program contains its own
metadata. The default setting is 5.1 + 2. Using the drop down menu, select the appropriate audio program
configuration.

5.1+2 (2 programs) 5.1+2 is selected for the program Dolby Metadata program configuration.
5.1+2x1 (3 programs) 5.1+2x1 is selected for the program Dolby Metadata program configuration.
2x4 (2 programs) 2x4 is selected for the program Dolby Metadata program configuration.
4+2x2 (3 programs) 4+2x2 is selected for the program Dolby Metadata program configuration.
4+2+2x1 (4 programs) 4+2+2x1 is selected for the program Dolby Metadata program configuration.
4+4x1 (5 programs) 4+4x1 is selected for the program Dolby Metadata program configuration.
4x2 (4 programs) 4x2 is selected for the program Dolby Metadata program configuration.
3x2+2x1 (5 programs) 3x2+2x1 is selected for the program Dolby Metadata program configuration.
2x2+4x1 (6 programs) 2x2+4x1 is selected for the program Dolby Metadata program configuration.
2+6x1 (7 programs) 2+6x1 is selected for the program Dolby Metadata program configuration.
8x1 (8 programs) 8x1 is selected for the program Dolby Metadata program configuration.
5.1 (1 program) 5.1 is selected for the program Dolby Metadata program configuration.
4+2 (2 programs) 4+2 is selected for the program Dolby Metadata program configuration.
4+2x1 (3 programs) 4+2x1 is selected for the program Dolby Metadata program configuration.
3x2 (3 programs) 3x2 is selected for the program Dolby Metadata program configuration.
2x2+2x1 (4 programs) 2x2+2x1 is selected for the program Dolby Metadata program configuration.
2+4x1 (5 programs) 2+4x1 is selected for the program Dolby Metadata program configuration.
6x1 (6 programs) 6x1 is selected for the program Dolby Metadata program configuration.
4 (1 program) 4 is selected for the program Dolby Metadata program configuration.
2x2 (2 programs) 2x2 is selected for the program Dolby Metadata program configuration.
2+2x1 (3 programs) 2+2x1 is selected for the program Dolby Metadata program configuration.
4x1 (4 programs) 4x1 is selected for the program Dolby Metadata program configuration.
7.1 (1 program) 7.1 is selected for the program Dolby Metadata program configuration.
7.1 screen (1 program) 7.1 screen is selected for the program Dolby Metadata program configuration.

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5.21.1.5. Setting the Method Control

This control enables the user to set the method that is used for Dolby Metatdata formatting. There are two
methods for Dolby Metadata insertion as outlined in SMPTE standard SMPTE 2020. These two methods
are called Method A and Method B. Using the drop down menu, the user can set the Method to A or B for
Dolby Metadata insertion.

Method A Use SMPTE 2020 Method A process for Dolby Metadata insertion.
Method B Use SMPTE 2020 Method B process for Dolby Metadata insertion.

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5.22. CONFIGURING THE DOLBY METADATA CONTROL PROGRAMS

There are eight unique programs for which Dolby Metadata may be specified. For simplicity, only Dolby
Metadata Programs 1 will be shown in this manual. Dolby Program 1 settings will be discussed below in
sections 5.22.1 to 0. Many definitions are based on Dolby Metadata Guide (Issue 3) S05/14660/16797
and all due credits are hereby given to Dolby Laboratories.

Figure 5-29: Dolby Metadata Control – Program 1 & 2 Tab

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5.22.1. Setting the Bitstream Mode

This control enables the user to set the bit-stream mode for Program 1. This parameter describes the
audio service contained within the Dolby bit-stream. A complete audio program may consist of a main
audio service (a complete mix of all the program audio), an associated audio service comprising a
complete mix, or one main service combined with an associated service. To form a complete audio
program, it may be (but rarely is) necessary to decode both a main service and an associated service. An
example of an exception to this is an emergency service within a digital television program. Most
programming typically uses Complete Main (CM) as its setting.

CM flags the bit-stream as the main audio service for the program and indicates that all
CM elements are present to form a complete audio program. This is the most common setting.
The CM service may contain from one (mono) to six (5.1) channels.
ME flags the bit-stream as the main audio service for the program, minus a dialogue channel.
The dialogue channel, if any, is intended to be carried by an associated dialogue service.
ME
Different dialogue services can be associated with a single ME service to support multiple
languages.
VI flags the bit-stream as a single-channel program intended to provide a narrative
VI description of the picture content to be decoded along with the main audio service. The VI
service may also be a complete mix of all program channels, comprising up to six channels.
HI flags the bit-stream as a single-channel program intended to convey audio that has been
HI processed for increased intelligibility and decoded along with the main audio service. The HI
service may also be a complete mix of all program channels, comprising up to six channels.
D flags the bit-stream as a single-channel program intended to provide a dialogue channel
for a ME service. If the ME service contains more than two channels, the D service is limited
D
to only one channel; if the ME service is two channels, the D service can be a stereo pair.
The appropriate channels of each service are mixed together (requires special decoders).
C flags the bit-stream as a single-channel program intended to convey additional
commentary that can be optionally decoded along with the main audio service. This service
C differs from a dialogue service because it contains an optional, rather than a required,
dialogue channel. The C service may also be a complete mix of all program channels,
comprising up to six channels.
E flags the bit-stream as single-channel service that is given priority in reproduction. When
E the E service appears in the bit-stream, it is given priority in the decoder and the main service
is muted.
VO flags the bit-stream as a single-channel service intended to be decoded and mixed to the
VO
Center channel (requires special decoders).

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5.22.2. Setting the Centre Mix Level

This control enables the user to author the centre mix level for program 1 of the Dolby Stream. Select the
appropriate control from the drop down menu.

The Center channel is attenuated 3 dB and sent to the Left and

- 3dB
Right channels.
The Center channel is attenuated 4.5 dB and sent to the Left and
-4.5 dB
Right channels.
The Center channel is attenuated 6 dB and sent to the Left and
-6.0 dB
Right channels.

5.22.3. Setting the Surround Mix Level

This control enables the user to author the surround mix level of the Dolby Stream. When the encoded
audio has one or more Surround channels, but the consumer does not have surround speakers, this
parameter indicates the nominal down-mix level for the Surround channel(s) with respect to the Left and
Right front channels. Dolby Digital decoders use this parameter during down-mixing in Lo/Ro mode when
Extended BSI parameters are not active. Select the appropriate control from the drop down menu.

The Left and Right Surround channels are each attenuated 3 dB and sent
- 3dB
to the Left and Right front channels, respectively.
-6.0 dB Same as above, but the signal is attenuated 6 dB.
0.0 dB The Surround channel(s) are discarded.

5.22.4. Setting the Surround Mode

This control enables the user to author the surround mode of the Dolby stream. This parameter indicates
to a Dolby Digital decoding product that also contains a Dolby Pro Logic decoder (for example a 5.1-
channel amplifier), whether or not the two-channel encoded bit-stream contains a Dolby Surround (Lt/Rt)
program that requires Pro Logic decoding. Decoders can use this flag to automatically switch on Pro Logic
decoding as required.

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Not Indicated There is no indication either way.

Not Dolby The bitstream contains information that was not encoded in Dolby Surround.
Surround The bitstream contains information that was encoded in Dolby Surround.
Encoded After Dolby Digital decoding, the bitstream is decoded using Pro Logic.
Dolby Surround The bitstream contains information that was encoded in Dolby Surround.
Encoded After Dolby Digital decoding, the bitstream is decoded using Pro Logic.

5.22.5. Setting the Dialnorm Control

This control enables the user to author the Dialnorm level of the Dolby bistream. When received at the
consumer’s Dolby Digital decoder, this parameter setting determines a level shift in the decoder that sets,
or normalizes, the average audio output of the decoder to a preset level. This aids in matching audio
volume between program sources. To adjust the Dialnorm control, drag the slide right to increase the
value and left to decrease the value. The Dialnorm Control has a value range of –1 dBFS to –31 dBFS in
increments of 1 dBFS. The default value is -27 dBFs.

5.22.6. Setting the Audio Prod Info

This control enables the user to author the Audio Prod. Information for the Dolby bitstream. This
parameter indicates whether the mixing level and room type values are valid. If Yes, then a receiver or
amplifier could use these values as described below. If No, then the values in these fields are invalid. In
practice, only high-end consumer equipment implements these features. Use the drop down to set this
control.

Does Not Exist Mixing Level and Room Type parameters are invalid and should be ignored.
Exists Mixing Level and Room Type parameters are valid.

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5.22.7. Setting the Mix Level

This control allows the user to author the Mix Level for the Dolby bit-stream. The Mixing Level parameter
describes the peak sound pressure level (SPL) used during the final mixing session at the studio or on the
dubbing stage. The parameter allows an amplifier to set its volume control such that the SPL in the replay
environment matches that of the mixing room. This control operates in addition to the dialogue level
control, and is best thought of as the final volume setting on the consumer’s equipment. This value can be
determined by measuring the SPL of pink noise at studio reference level and then adding the amount of
digital headroom above that level. For example, if 85 dB equates to a reference level of –20 dBFS; the
mixing level is 85 + 20, or 105 dB. Use the slide bar to change the authored Mix Level in the Dolby
Metadata packet. The Mix Level ranges from 80 dBFS to 110 dBFS. The default value is 105 dBFs.

5.22.8. Setting the Room Type

This control enables the user to author the Room Type information. The Room Type parameter describes
the equalization used during the final mixing session at the studio or on the dubbing stage. A Large room
is a dubbing stage with the industry standard X-curve equalization; a Small room has flat equalization.
This parameter allows an amplifier to be set to the same equalization as that heard in the final mixing
environment.

Not Indicated Not Indicated.

Large Room X Curve
Large Room X Curve Monitor used during final mixing.
Monitor
Small Room Flat
Small Room used during final mixing with flat equalization.
Monitor

5.22.9. Setting the Copyright

This control allows the user to author the Copyright information for the Dolby bit-stream. This parameter
indicates whether the encoded Dolby Digital bitstream is copyright protected. It has no effect on Dolby
Digital decoders and its purpose is purely to provide information.

Not Copyrighted Indicates the material is not copyrighted material.

Copyrighted Material Indicates the material is copyrighted.

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5.22.10. Setting the Original Bitstream

This control allows the user to author the Original Bitstream metadata for the Dolby bit-stream. This
parameter indicates whether the encoded Dolby Digital bitstream is the master version or a copy. It has no
effect on Dolby Digital decoders and its purpose is purely to provide information. The Original Bitstream
drop down menu has the following options:

Not Copyrighted Indicate the material is not copyrighted material.

Copyrighted Material Indicate the material is copyrighted.

5.22.11. Setting the Preferred Down Mix

This control allows the user to author the Preferred Down-Mix metadata for the Dolby bit-stream. This
parameter allows the producer to select either the Lt/Rt or the Lo/Ro downmix in a consumer decoder that
has stereo outputs. Consumer receivers are able to override this selection, but this parameter provides the
opportunity for a 5.1-channel soundtrack to play in Lo/Ro mode without user intervention. This is
especially useful on music material. The Preferred Down Mix drop down menu has the following options:

Not Indicated Not Indicated

LtRt Downmix Lt/Rt Preferred
LoRo Downmix Lo/Ro Preferred

5.22.12. Setting the Lt/Rt Centre Down Mix

This control allows the user to author the LtRt Center Down-Mix metadata for the Dolby bit-stream. This
parameter indicates the level shift applied to the Center channel when adding to the left and right outputs
as a result of down-mixing to a Lt/Rt output. The Lt/Rt Centre Down Mix menu provides the following
options:

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3.0 dB 3.0 dB level shift applied to the Center channel

1.5 dB 1.5 dB level shift applied to the Center channel
0.0 dB 0.0 dB level shift applied to the Center channel
-1.5 dB -1.5 dB level shift applied to the Center channel
-3.0 dB -3.0 dB level shift applied to the Center channel
-4.5 dB -4.5 dB level shift applied to the Center channel
-6.0 dB -6.0 dB level shift applied to the Center channel
Mute -999 dB level shift applied to the Center channel

5.22.13. Setting the Lt/Rt Surround Control

This control allows the user to author the LtRt Surround Control metadata for the Dolby bit-stream. This
parameter indicates the level shift applied to the Surround channels when downmixing to a Lt/Rt output.
The Lt/Rt Surround Control drop down menu provides the following options:

3.0 dB 3.0 dB level shift applied to the Surround channels

1.5 dB 1.5 dB level shift applied to the Surround channels
0.0 dB 0.0 dB level shift applied to the Surround channels
-1.5 dB -1.5 dB level shift applied to the Surround channels
-3.0 dB -3.0 dB level shift applied to the Surround channels
-4.5 dB -4.5 dB level shift applied to the Surround channels
-6.0 dB -6.0 dB level shift applied to the Surround channels
Mute -999 dB level shift applied to the Surround channels

5.22.14. Setting the Lo/Ro Centre Control

This control allows the user to author the LoRo Center Control metadata for the Dolby bit-stream. This
parameter indicates the level shift applied to the Center channel when adding to the left and right outputs
as a result of down-mixing to a Lo/Ro output. When Extended BSI parameters are active, this parameter
replaces the Center Down-mix Level parameter in the universal parameters.

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3.0 dB 3.0 dB level shift applied to the Center channel

1.5 dB 1.5 dB level shift applied to the Center channel
0.0 dB 0.0 dB level shift applied to the Center channel
-1.5 dB -1.5 dB level shift applied to the Center channel
-3.0 dB -3.0 dB level shift applied to the Center channel
-4.5 dB -4.5 dB level shift applied to the Center channel
-6.0 dB -6.0 dB level shift applied to the Center channel
Mute -999 dB level shift applied to the Center channel

5.22.15. Setting the Lo/Ro Surround Control

This control allows the user to author the LoRo Surround Control metadata for the Dolby bit-stream. This
parameter indicates the level shift applied to the Surround channels when down-mixing to a Lo/Ro output.
When Extended BSI parameters are active, this parameter replaces the Surround Down-mix Level
parameter in the universal parameters. The Lo/Ro Surround Control drop down menu provides the
following options.

3.0 dB 3.0 dB level shift applied to the Surround channels

1.5 dB 1.5 dB level shift applied to the Surround channels
0.0 dB 0.0 dB level shift applied to the Surround channels
-1.5 dB -1.5 dB level shift applied to the Surround channels
-3.0 dB -3.0 dB level shift applied to the Surround channels
-4.5 dB -4.5 dB level shift applied to the Surround channels
-6.0 dB -6.0 dB level shift applied to the Surround channels
Mute -999 dB level shift applied to the Surround channels

5.22.16. Setting the Dolby Surround EX Control

This control allows the user to author the Surround EX Control metadata for the Dolby bit-stream. This
parameter is used to identify the encoded audio as material encoded in Surround EXTM. This parameter
is only used if the encoded audio has two Surround channels. An amplifier or receiver with Dolby Digital
Surround EX decoding can use this parameter as a flag to switch the decoding on or off automatically. The
behavior is similar to that of the Dolby Surround Mode parameter. The Dolby Surround EX Control drop
down menu provides the following options:

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Not Indicated Not Indicated

Not Dolby Surround Encoded Not Surround EX
Dolby Surround Encoded Dolby Surround EX

5.22.17. Setting the DC Filter Control

This control allows the user to author the DC Filter Control metadata for the Dolby bit-stream. This
parameter determines whether a DC-blocking 3 Hz high-pass filter is applied to the main input channels of
a Dolby Digital encoder prior to encoding. This parameter is not carried to the consumer decoder. It is
used to remove DC offsets in the program audio and would only be switched off in exceptional
circumstances. The DC Filter Control drop down menu provides the following options:

Disable Filter was disabled.

Enable Filter was enabled.

5.22.18. Setting the Lowpass Filter Control

This control allows the user to author the Lowpass Filter Control metadata for the Dolby bit-stream. This
parameter determines whether a lowpass filter is applied to the main input channels of a Dolby Digital
encoder prior to encoding. This filter removes high frequency signals that are not encoded. At the suitable
data rates, this filter operates above 20 kHz. In all cases it prevents aliasing on decoding and is normally
switched on. This parameter is not passed to the consumer decoder. The Lowpass Filter Control drop
down menu provides the following options:

Disable Filter was disabled.

Enable Filter was enabled.

5.22.19. Setting the LFE Lowpass Filter Control

This control allows the user to author the LFE Lowpass Filter metadata for the Dolby bit-stream. This
parameter determines whether a 120 Hz eighth-order low-pass filter is applied to the LFE channel input of
a Dolby Digital encoder prior to encoding. It is ignored if the LFE channel is disabled. This parameter is not
sent to the consumer decoder. The filter removes frequencies above 120 Hz that would cause aliasing

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when decoded. This filter should only be switched off if the audio to be encoded is known to have no
signal above 120 Hz. The LFE Lowpass Filter Control drop down menu provides the following options:

Disable Filter was disabled.

Enable Filter was enabled.

5.22.20. Setting the Surround Phase Shift Control

This control allows the user to author the Surround Phase Shift Control metadata for the Dolby bit-
stream. This parameter causes the Dolby Digital encoder to apply a 90-degree phase shift to the Surround
channels. This allows a Dolby Digital decoder to create a Lt/Rt downmix simply. For most material, the
phase shift has a minimal impact when the Dolby Digital program is decoded to 5.1 channels, but it
provides a Lt/Rt output that can be decoded with Pro Logic to L, C, R, S, if desired. However, for some
phase critical material (such as music) this phase shift is audible when listening in a 5.1- channel format.
Likewise, some material downmixes to a satisfactory Lt/Rt signal without needing this phase shift. It is
therefore important to balance the needs of the 5.1 mix and the Lt/Rt downmix for each program. The
default setting is Enable. The Surround Phase Shift Control drop down menu provides the following
options:

Disable Filter was disabled.

Enable Filter was enabled.

5.22.21. Setting the Surround 3dB Attenuation Control

This control allows the user to author the 3 dB Attenuation Control metadata for the Dolby bit-stream.
The Surround 3 dB Attenuation parameter determines whether the Surround channel(s) are attenuated 3
dB before encoding. The attenuation actually takes place inside the Dolby Digital encoder. It balances the
signal levels between theatrical mixing rooms (dubbing stages) and consumer mixing rooms (DVD or TV
studios). Consumer mixing rooms are calibrated so that all five main channels are at the same sound
pressure level (SPL). To maintain compatibility with older film formats, theatrical mixing rooms calibrate
the SPL of the Surround channels 3 dB lower than the front channels. The consequence is that signal
levels on tape are 3 dB louder. Therefore, to convert from a theatrical calibration to a consumer mix, it is
necessary to reduce the Surround levels by 3 dB by enabling this parameter. The Surround 3dB
Attenuation drop down menu provides the following options:

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Disable Filter was disabled.

Enable Filter was enabled.

5.22.22. Setting the RF Overmod Protect Control

This control allows the user to author the RF Overmod Protect Control metadata for the Dolby bit-
stream. This parameter is designed to protect against overmodulation when a decoded Dolby Digital
bitstream is RF modulated. When enabled, the Dolby Digital encoder includes pre-emphasis in its
calculations for RF Mode compression. The parameter has no effect when decoding using Line mode
compression. Except in rare cases, this parameter should be disabled.

The RF Overmod Protect drop down menu provides the following options:

Disable Filter was disabled.

Enable Filter was enabled.

5.22.23. Setting the RF Mode

This control allows the user to author the RF Mode metadata for the Dolby bit-stream. Six preset DRC
profiles are available for content producers: Film Light, Film Standard, Music Light, Music Standard,
Speech, and None. The RF Mode drop down menu provides the following options:

Max Boost: 6 dB (below –53 dB)

Boost Range: –53 to –41 dB (2:1 ratio)
Film Light Null Band Width: 20 dB (–41 to –21 dB)
Early Cut Range: –26 to –11 dB (2:1 ratio)
Cut Range: –11 to +4 dB (20:1 ratio)
Max Boost: 6 dB (below –43 dB)
Boost Range: –43 to –31 dB (2:1 ratio)
Film Standard Null Band Width: 5 dB (–31 to –26 dB)
Early Cut Range: –26 to –16 dB (2:1 ratio)
Cut Range: –16 to +4 dB (20:1 ratio)

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Music Light (No early cut range)

Max Boost: 12 dB (below –65 dB)
Music Light (No
Boost Range: –65 to –41 dB (2:1 ratio)
early cut range)
Null Band Width: 20 dB (–41 to –21 dB)
Cut Range: –21 to +9 dB (2:1 ratio)
Max Boost: 12 dB (below –55 dB)
Boost Range: –55 to –31 dB (2:1 ratio)
Music Standard Null Band Width: 5 dB (–31 to –26 dB)
Early Cut Range: –26 to –16 dB (2:1 ratio)
Cut Range: –16 to +4 dB (20:1 ratio)
Max Boost: 15 dB (below –50 dB)
Boost Range: –50 to –31 dB (5:1 ratio)
Speech Null Band Width: 5 dB (–31 to –26 dB)
Early Cut Range: –26 to –16 dB (2:1 ratio)
Cut Range: –16 to +4 dB (20:1 ratio)
None No DRC profile selected. The dialogue level parameter (dialnorm) is still applied

5.22.24. Setting the Line Mode

This control allows the user to author the Line Mode metadata for the Dolby bit-stream. Six preset DRC
profiles are available to content producers: Film Light, Film Standard, Music Light, Music Standard,
Speech, and None. The Line Mode drop down menu provides the following options:

Max Boost: 6 dB (below –53 dB)

Boost Range: –53 to –41 dB (2:1 ratio)
Film Light Null Band Width: 20 dB (–41 to –21 dB)
Early Cut Range: –26 to –11 dB (2:1 ratio)
Cut Range: –11 to +4 dB (20:1 ratio)
Max Boost: 6 dB (below –43 dB)
Boost Range: –43 to –31 dB (2:1 ratio)
Film Standard Null Band Width: 5 dB (–31 to –26 dB)
Early Cut Range: –26 to –16 dB (2:1 ratio)
Cut Range: –16 to +4 dB (20:1 ratio)
Music Light (No early cut range)
Max Boost: 12 dB (below –65 dB)
Music Light (No
Boost Range: –65 to –41 dB (2:1 ratio)
early cut range)
Null Band Width: 20 dB (–41 to –21 dB)
Cut Range: –21 to +9 dB (2:1 ratio)

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Max Boost: 12 dB (below –55 dB)

Boost Range: –55 to –31 dB (2:1 ratio)
Music Standard Null Band Width: 5 dB (–31 to –26 dB)
Early Cut Range: –26 to –16 dB (2:1 ratio)
Cut Range: –16 to +4 dB (20:1 ratio)
Max Boost: 15 dB (below –50 dB)
Boost Range: –50 to –31 dB (5:1 ratio)
Speech Null Band Width: 5 dB (–31 to –26 dB)
Early Cut Range: –26 to –16 dB (2:1 ratio)
Cut Range: –16 to +4 dB (20:1 ratio)

No DRC profile selected. The dialogue level parameter (dialnorm) is still

None
applied.

5.22.25. Setting the Audio Coding Mode

This control allows the user to author the Audio Coding metadata for the Dolby bit-stream.

5.23. CONFIGURING THE UP MIX CONTROL

With the +UMX option (available on –AES versions only) the 7812 series of converters can up mix stereo
audio to 5.1 surround sound audio.

Figure 5-30: Up Mix Control Tab

5.23.1. Setting the Centre Width

The Centre Width controls the width of front centre sound in the perceived sound image when listening to
up-mixed audio. It mainly affects the perception of speech and dialogue. Narrower centre width will cause
the front centre sound primarily coming from the centre speaker. Wider centre width causes the front
centre sound comes from the centre, left and right speakers. To adjust the centre width of the up mix
control, drag the slider right to increase the value of the centre width or drag the slider left to decrease the
value of the centre width. The value range is 0 to 7 in increments of 1. The default value is 3.

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5.23.2. Setting the Surround Depth

The Surround Depth controls the depth of surround sound in the perceived sound image when listening
to up-mixed audio. More sound will be directed to the front speakers (centre, left and right speakers) if a
shallower surround depth is selected. If a deeper surround depth is selected, more sound will be shifted to
the surround speakers. To adjust the depth of the surround, drag the slider right to increase the depth or
drag it left to decrease the depth. The value range is 0 to 7 in increments of 1. The default value is 3.

5.23.3. Setting the Up Mix Surround Delay

This Up Mix Surround Delay controls the amount of time that the surround sound will be delayed against
other channels. Proper amount of surround delay will provide a good perception of surround sound. To
adjust the delay of the up mix surround, drag the slider to the right to increase the delay or drag it to the
left to decrease the delay in milliseconds.

The value range is 4 ms to 20ms in increments of .021 ms. The default value is 10 ms.

5.23.4. Setting the Source Select Control

The Source Select control enables the user to select the source of audio from which the 5.1 surround
sound audio will be generated. Use the drop down menu to select the appropriate source. The following
are the available sources of audio.

Channel 1 & 2 Select channels 1 & 2 as the source of audio for the up-mixer.
Channel 3 & 4 Select channels 3 & 4 as the source of audio for the up-mixer.
Channel 5 & 6 Select channels 5 & 6 as the source of audio for the up-mixer.
Channel 7 & 8 Select channels 7 & 8 as the source of audio for the up-mixer.
Channel 9 & 10 Select channels 9 &10 as the source of audio for the up-mixer.
Channel 11 & 12 Select channels 11 & 12 as the source of audio for the up-mixer.
Channel 13 & 14 Select channels 13 & 14 as the source of audio for the up-mixer.
Channel 15 & 16 Select channels 15 & 16 as the source of audio for the up-mixer.

5.23.5. Setting the LFE Gain

This controls the LFE channel gain after audio is up-mixed. Use the drop down menu to select the
appropriate source.

Mute Mute the LFE channel in the up-mixed audio.

+ 0 dB Apply 0 dB gain to the generated LFE channel.
-1.5 dB Apply –1.5 dB gain to the generated LFE channel.
-3.0 dB Apply –3.0 dB gain to the generated LFE channel.
-4.5 dB Apply –4.5 dB gain to the generated LFE channel.
-6.0 dB Apply –6.0 dB gain to the generated LFE channel.
-7.5 dB Apply –7.5 dB gain to the generated LFE channel.
-9.0 dB Apply –9.0 dB gain to the generated LFE channel.

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5.23.6. Setting the Sound Direction Detect Rate

The Sound Direction Detect Rate controls the detection rate of sound direction. The up-mixer constantly
calculates the sound image that would be perceived from the stereo audio input. If the sound direction
shifts in the sound image, the up-mixer changes the output sound direction accordingly by switching the
amount of sound going to different speakers. If faster detection rate is selected, the sound direction
switching may sound more dramatic, but may also be felt as unnatural. On the other hand, slower
detection rate would sound dull and uninteresting. To adjust the detection rate of the sound direction, drag
the slider to the right to increase the rate or drag it to the left to decrease the rate.

The value range is 0 to 7 in increments of 1. The default is level 4.

5.24. CONFIGURING THE PANEL LOGO

With +CF2G enabled 7812 series modules, static or animated logos may be stored in the on-board
compact flash. The Panel Logo control tab is used to manage the when and how this side panel gets
inserted into the out-going video stream.

Up to 10 sets of side panels can be managed within the Panel Logo control tab. For each set of side
panels, the left hand side panel is referenced as Logon A and the right hand side panel is referenced as
Logon B. Before a set of side panels can be keyed into the outgoing video, the side panel content must
first be moved from compact flash storage to play-out cache storage. This process is initiated by pressing
the CUE button for the related side panel. Depending on the size of the side panel content animations, this
process can take several minutes. Once the side panel content has been fully moved into play-out cache
the STATUS A and STATUS B boxes beside the relevant logo will become RED and text indicating
“QUED” will appear. Logon A is cued first and Logon B is cued second.

Once the queing process is complete, you can choose to play the side panel animation once by pressing
the PLAY button. By pressing the PLAY LOOP button, the animation sequence will continually play and re-
play until the STOP A, STOP B or STOP ALL buttons are pressed.

Note that the cueing, playing and stop functions can also be managed using GPI inputs on 7812 series
modules

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Figure 5-31: Logo Controls

5.25. CONFIGURING THE IP CONTROL TAB

All 7812 series modules have a dedicated Ethernet port for up-loading data to the on-board compact flash.
At the time of this manual’s writing this is the only function for this Ethernet port. Generic card control and
monitoring must be done through the 7700FC.

Setting the IP address of the 7812 series dedicated Ethernet port is done through VLPRO using the IP
control tab. To set the IP address, type the desired network settings into the IP ADDRESS, SUBNET
MASK and DEFAULT GATEWAY fields and then press APPLY.

Note that the card MUST be re-booted for the IP address change to take effect.

Figure 5-32: IP Control

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6. JUMPERS
Figure 6-1 and Figure 6-2 provide the locations of the jumpers and LEDs on the 7812 series boards.

J7
MODULE
STATUS Serial

Upgrade
J2
Run

OFF FRAME
J2
ON STATUS

Figure 6-1: Location of Jumpers – Top View Main Module

ON
MUST BE INSTALLED WITH 7700PS
POWER SUPPLY KEY

Figure 6-2: Location of Jumpers – Bottom View Main Module

6.1. SELECTING WHETHER LOCAL FAULTS WILL BE MONITORED

BY THE GLOBAL FRAME STATUS
FRAME STATUS: The FRAME STATUS jumper J2 is located near the rear of the board and close to
the white metal connector. The FRAME STATUS jumper determines whether local
faults (as shown by the Local Fault indicator) will be connected to the 7700FR-C or
7800FR frame's global status bus.

To monitor faults on this module with the frame status indicators (on the PS FRAME
STATUS LED's and on the Frame's Fault Tally output) install this jumper in the On
position. (Default)

When this jumper is installed in the Off position, local faults on this module will not
be monitored.

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6.2. CONFIGURING THE MODULE FOR FIRMWARE UPGRADES

Firmware updates can be performed using two methods. The first method is Ethernet based up-load of
firmware using VistaLink PRO. The second method is using serial interface based up-load of firmware
using the on-card upgrade serial port.

NOTE:

When upgrading from a firmware revision 4.00 or earlier, a two stage firmware upgrade process must be
performed. Ethernet or serial based upgrades may be used to perform this two stage upgrade process.

The first step in this process involves up-loading a special intermediate 7711xucupgrade.bin file.
Please contact the Evertz service department to acquire this upgrade file.
After this special intermediate upgrade file is up-loaded, the card should be re-booted.
The second step in the process entails uploading the final card firmware using the same process.

The following outlines the details of how to perform a serial interface based upgrade.

UPGRADE: The UPGRADE jumper (J2) is located on the top side of the main near the front of the
card and is used when firmware upgrades are being done to the module. For normal
operation it should be switched to the RUN position as shown in the diagrams above.
See the Upgrading Firmware chapter in the front of the binder for more information.

To upgrade the firmware in the module unit pull it out of the frame. Move Jumper J2 into
the UPGRADE position. Install the Upgrade cable provided (located in the vinyl pouch in
the front of this manual) onto header J7 at the card edge. Re-install the module into the
frame. Run the upgrade as described in Upgrading Firmware chapter. Once the upgrade
is completed, remove the module from the frame, move J2 into the RUN position, remove
the upgrade cable and re-install the module. The module is now ready for normal
operation.

The Upgrade baud rate for the 7812 series modules is 115,200 baud. Additional serial
connection settings are as follows:

" Data Bits = 8

Parity = None
Stop Bits=1
Flow Control = None

6.3. SELECTING WHETHER THE GENLOCK REFERENCE INPUT IS TERMINATED

TERM: The micro DIP switch on the bottom of the board (near the connector) is used to terminate
the genlock loop input. When DIP Switch 1 is set to “ON” there is in the 75 ohm
terminating resistor placed between the genlock input and ground. When DIP Switch 1 is
set in the “OFF” position the genlock input will be high impedance. Leave DIP SWITCH 2,
3 and 4 in the OFF position.

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6.4. 7812 Series “Slot Blocker”

The 7812 series of modules can be installed in either the 7700FR-C or the 7800FR frames. These
modules are designed to take two slots in the Evertz 7800FR frame and three slots in the 7700FR-C.

Modules can fit into two slots in a 7800FR frame because the 7800FR allows modules to consume more
power on a per slot basis than the Evertz 7700FR-C. When a 7812 series module is installed in the
7700FR-C, the module must occupy 3 slots to ensure that the frame power is managed properly. This is
accomplished by installing a “Slot Blocker” on the bottom side of the board. If the “Slot Blocker” is not
installed on the card and the card is inserted into the 7700FR, the card will not power-up. When installing
the card in a 7800FR, the “Slot Blocker” may be removed and it will power-up and operate normally. If the
“Slot Blocker” remains installed and the card is inserted into the 7800FR, the card will also power-up and
operate normally.

Figure 6-3: Slot Blocker

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7. VISTALINK® REMOTE MONITORING/CONTROL

7.1. WHAT IS VISTALINK®?

VistaLINK® is Evertz’ remote monitoring and configuration platform which operates over an Ethernet
network using Simple Network Management Protocol (SNMP). SNMP is a standard computer network
protocol that enables different devices sharing the same network to communicate with each other.
VistaLINK® provides centralized alarm management, which monitors, reports, and logs all incoming alarm
events and dispatches alerts to all the VLPro Clients connected to the server. Card configuration through
VistaLINK® PRO can be performed on an individual or multi-card basis using simple copy and paste
routines, which reduces the time to configure each module separately. Finally, VistaLINK® enables the
user to configure devices in the network from a central station and receive feedback that the configuration
has been carried out.

There are 3 components of SNMP:

1. An SNMP manager, also known as a Network Management System (NMS), is a computer running
special software that communicates with the devices in the network. Evertz VL-Fiber demo Manager
graphical user interface (GUI), third party or custom manager software may be used to monitor and
control Evertz VistaLINK® enabled fiber optic products.

2. Managed devices, (such as 7707EO and 7707OE cards), each with a unique address (OID),
communicate with the NMS through an SNMP Agent. Evertz VistaLINK® enabled 7700 series modules
reside in the 3RU 7700FR-C MultiFrame and communicate with the manager via the 7700FC
VistaLINK® frame controller module, which serves as the Agent.

3. A virtual database, known as the Management information Base (MIB), lists all the variables being
monitored which both the Manager and Agent understand. Please contact Evertz for further
information about obtaining a copy of the MIB for interfacing to a third party Manager/NMS.

For more information on connecting and configuring the VistaLINK® network, see the 7700FC Frame
Controller chapter.

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7.2. VISTALINK® MONITORED PARAMETERS

The following parameters can be remotely monitored through the VistaLINK® interface.

Parameter Description
Reports if a valid video signal is presented to PGM IN A and what
Main PGM IN BNC Video Std
standard has been detected when it is present.
Reports if a valid video signal is presented to PGM IN B and what
Backup PGM IN BNC Video Std
standard has been detected when it is present.
Reports what input BNC has been selected to pass through the
Input Video BNC
main up/down/cross conversion path.
Reports if a valid Video Payload ID ANC packet has been detected
Video Payload ID
and indicates the format that the video is being sent to the card.
Reports if a valid video reference has been supplied to the REF IN
External Genlock Standard BNC and indicates the standard that is detected when a valid
reference is applied.
Video Delay Reports video delay through the card in ms.
CDP Parser Displays the status of Closed Caption reading.
Input AFD Code Status Reports any detected AFD values on the incoming video signal.
Presents the AFD code being stamped on the output of the card (if
Output AFD Code Status
applicable).
SRC Status Displays the status of the Sample Rate Converters.
Audio Delay Displays the delay of the audio in ms.
Video Delay Displays the delay of the associated video in ms.
Status A Displays whether Status A is on or off.
Status B Displays whether Status B is on or off.

Table 7-1: VistaLINK® Monitored Parameters

7.3. VISTALINK® CONTROLLED PARAMETERS

Parameter Description
Video Standard Input Selects the video input standard.
Video Standard Output Selects the video output standard.
Video Input Source Selects source of video input.
SD Blanking Last line of blanking in SD. SD input only.
Reference Select Set video or external genlock for card locking.
V Phase Offset Sets the vertical phase.
H Phase Offset Sets the horizontal phase.

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Used when operating with dual link 1080p input signals per
3G Dual Link Channel Swap
SMPTE 372M.
Loss of Video Mode Selects the action to take when the input video is missing.
Controls the response of the converter when the input and output
FS Only Mode
formats are the same.
VITC Read Select decode line for VITC. SD input only.
VITC Write Select line for VITC insert. SD output only.
Time Code Source Selects the source of Timecode.
Audio Delay Adjusts the audio delay from the card nominal.
SRC Mode Sets mode of sample rate converter.
Embedder Group 1 Enable Enables or disables the Embedder Group.
Embedder Group 2 Enable Enables or disables the Embedder Group.
Embedder Group 3 Enable Enables or disables the Embedder Group.
Embedder Group 4 Enable Enables or disables the Embedder Group.
C-Bit Enables the user to set the C-Bit Control.
Selects the action that the 7812 series product will take when
DMX loss of video mode
there is a loss of video on the input.
Ch 1+2 Selects the source for internally processed channels 1 and 2.
Ch 3+4 Selects the source for internally processed channels 3 and 4.
Ch 5+6 Selects the source for internally processed channels 5 and 6.
Ch 7+8 Selects the source for internally processed channels 7 and 8.
Ch 9+10 Selects the source for internally processed channels 9 and 10.
Ch 11+12 Selects the source for internally processed channels 11 and 12.
Ch 13+14 Selects the source for internally processed channels 13 and 14.
Ch 15+16 Selects the source for internally processed channels 15 and 16.
Routes one of the 16 input audio channels to the X input of the
Source X
Channel 1 mixer.
Gain Adjust X Sets the value of the gain from the selected source.
Invert Enable X Inverts the phase or passes the selected audio channels.
Routes one of the 16 input audio channels to the Y input of the
Source Y
Channel 1 mixer.
Gain Adjust Y Sets the value of the gain from the selected source.
Invert Enable Y Inverts the phase or passes the selected audio channels.
Sets whether the module will perform field or frame based de-
Deinterlacer Mode
interlacing conversion.
Deinterlacer Type Sets the base type of de-interlacing that the module will perform.

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IFMD Mode Sets the motion processing mode for the de-interlacer.
Changes the threshold of what is deemed motion for the
IFMD Threshold
deinterlacer.
IFMD Detection Mode Sets the film operating mode.
RGB Clip Enables RGB clipper.
Y Gain Varies the Source Y.
Y Offset (Black Level) Varies the Source Y.
Cr Gain Varies the Source Cr.
Cr Offset Varies the Source Cr.
Cb Gain Varies the Source Cb.
Cb Offset Varies the Source Cb.
Adjusts the hue of the video signal. +/- 10 degrees in 0.1 degree
Hue
increments.
R Gain Varies the Gain in RGB Domain.
G Gain Varies the Gain in RGB Domain.
B Gain Varies the Gain in RGB Domain.
Saturation Gain Sets the saturation gain level.
Video Gain Sets the video gain level.
Gamma Adjust Enables gamma adjust.
Gamma Level Sets the gamma correction level.
Red Gamma Level Adjusts the Red Gamma levels.
Green Gamma Level Adjusts the Green Gamma levels.
Blue Gamma Level Adjusts the Blue Gamma levels.
H Slew Limit Controls sharp horizontal edge transitions.
V Slew Limit Controls sharp vertical edge transitions.
Sets the value for the R component of the background side
Red Panel
panels.
Sets the value for the G component of the background side
Green Panel
panels.
Sets the value for the B component of the background side
Blue Panel
panels.
H Filter Cutoff Sets the type of the horizontal filter in the scaler.
V Filter Cutoff Sets the type of the vertical filter in the scaler.
AFD Stamp Selects the AFD signal that will be stamped on the output signal.
Aspect Ratio Conversion Selects the aspect ratio conversion that the module will perform.

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Input H Start Sets the left side crop position.

Input H Stop Sets the right side crop position.
Input V Start Sets the top crop position.
Input V Stop Sets the bottom crop position.
Output H Start Sets the left side of the output.
Output H Stop Sets the right side of the output.
Output V Start Sets the top of the output image.
Output V Stop Sets the bottom of the output image.
CC Enable Enables closed caption handling.
Sets the HD line where the HD VANC captions are inserted on the
HD Write Line
output HD video as per SMPTE 334M.
When video is lost, this control sets the amount of time (in
Loss of CC Timeout
seconds) before the Closed Captioning timeouts.
Maps closed caption and text channels into CEA708 caption
CC1 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
CC2 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
CC3 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
CC4 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
T1 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
T2 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
T3 To CEA708 Service
services.
Maps closed caption and text channels into CEA708 caption
T4 To CEA708 Service
services.
Used to recall a current card configuration from one of the user
Recall Preset
presets.
Store User Preset Used to store the current card configuration.
Auto Recall Presets Enables automatic preset recall when input or output changes.
Selects whether the Production Aperture or the Clean Aperture is
Ap Aspect Ratio Source
used when converting input signals.
Defines the first active horizontal pixel for the SD Production
First Pixel Num in SD Prod Ap
Aperture.
Defines the last active horizontal pixel for the SD Production
Last Pixel Num in SD Prod Ap
Aperture.

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First Line Num in SD Prod Ap Defines the first active line for the SD Production Aperture.
Last Line Num in SD Prod Ap Defines the last active line for the SD Production Aperture.
First Pixel Num in SD Clean Ap Defines the first active horizontal pixel for the SD Clean Aperture.
Last Pixel Num in SD Clean AP Defines the last active horizontal pixel for the SD Clean Aperture.
First Line Num in SD Clean Ap Defines the first active line for the SD Clean Aperture.
Last Line Num in SD Clean Ap Defines the last active line for the SD Clean Aperture.
Image Enhancement Enable Enables the Image Enhancement control settings.
Detail Gain Selects the level of the detail gain.
Enhancement Limit Sets the maximum enhancement allowed.
Horizontal Band Sets the horizontal frequency band.
Vertical Intensity Sets the intensity of vertical enhancement.
Luma Floor Sets the gamma correction factor.
Sets the minimum level of detail required before the enhancer is
Detail Noise Floor
enabled.
AFD Input Enable Enables the input side AFD processing.
Configures the action that the converter will take when incoming
Loss of AFD Mode
AFD signals are lost.
AFD Stamp Source Sets the source for output AFD stamping.
Defines whether SD outputs should be stamped with an AFD
Output SD Aspect Ratio
value that indicates a 16:9 or 4:3 output image raster.
AFD Output Enable Enables the insertion of AFD packets in the outgoing video signal.
AFD Output Line Sets the AFD Output Line level.
AFD Select Selects the incoming AFD code.
AFD Stamp Specifies the outgoing AFD code.
Aspect Ratio Conversion Selects the ARC processing that the card will perform.
Input H Start Sets the left side crop positions.
Input H Stop Sets the right side crop position.
Input V Start Sets the top crop position.
Input V Stop Sets the bottom crop position.
Output H Start Sets the left side of the output.
Output H Stop Sets the right side of the output.
Output V Start Sets the top of the output image.
Output V Stop Sets the bottom of the output image.
Controls the strength of the applied General Noise Reduction
General Level
filter.

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BAR Level Controls the strength of the BAR noise reducer.

MNR Level Controls the strength of the MNR noise reducer.
SCTE104 Enable Enables SCTE104 packets.
Sets the specific line onto which SCTE104 packets will be inserted
Line Out
on the outgoing video signal.
GPIO None Disables the GPIO control.
Recall Preset Sets which preset will be recalled by the respective GPI input.
Play Logo Configures a preset to play a particular logo.
Play Loop Logo Configures a preset to play and loop a particular logo.
Configures a preset to tally or indicate when a certain logo is
Tally Logo
playing.
Tally Preset Indicates status of a selected user preset.
Cue Cues selected logo.
Play Plays selected media file.
Play Loop Plays and loops selected media file.
Stop A Stops playing the left hand side logo.
Stop B Stops playing the right hand side logo.
Stop All Stops playing the left and right hand side logo.
IP Address Sets the IP address.
Subnet Mask Sets the subnet mask.
Default Gateway Sets the default gateway.
L Source Assign a channel to L Source.
R Source Assign a channel to R Source.
C Source Assign a channel to C Source.
LFE Source Assign a channel to LFE Source.
Ls Source Assign a channel to Ls Source.
Rs Source Assign a channel to Rs Source.
Output Scaling Mode Controls whether the down mix matrixing is normalized or not.
Output Gain Configures the output gain.
Controls whether the LFE channel is included or not in the audio
LFE Mixing
down-mixing.
Controls whether a 90 degree phase shift is applied to the
Surround Phase
surround channels before being passed to the down-mix matrix.
Down Mix Type Sets the type of audio down-mixing that will be performed.
LR_lev Sets the LR_lev level.

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C_lev Sets the C_lev level.

Ls_lev_L Sets the Ls_lev_L level.
Rs_lev_L Sets the Rs_lev_L level.
Ls_lev_R Sets the Ls_lev_R level.
Rs_lev_R Sets the Rs_lev_R level.
Out Enable Enables the Dolby Metadata Encoder.
Output Line Adjusts the Output Line value of the Dolby Metadata Encoder.
Sets the Output DID for the Dolby Metadata ancillary data
Output DID
packets.
Sets the Output SDID for the Dolby Metadata ancillary data
Output SDID
packets.
Sets the control for the program configuration of the Dolby
Program Config
Metadata encoder.
Method Sets the method that is used for Dolby Metatdata formatting.
Bitstream Mode Sets the bit-stream mode for Program 1.
Center Mix Level Sets the centre mix level for program 1 of the Dolby Stream.
Surround Mix Level Sets the surround mix level of the Dolby Stream.
Surround Mode Sets the surround mode of the Dolby stream.
Dialnorm Sets the Dialnorm level of the Dolby bistream.
Audio Prod. Info Sets the Audio Prod. Information for the Dolby bitstream.
Mix Level Sets the Mix Level for the Dolby bit-stream.
Room Type Sets the Room Type information.
Copyright Sets the Copyright information for the Dolby bit-stream.
Original Bitstream Sets the Original Bitstream metadata for the Dolby bit-stream.
Preferred Downmix Sets the Preferred Down-Mix metadata for the Dolby bit-stream.
Lt/Rt Center Downmix Sets the LtRt Center Down-Mix metadata for the Dolby bit-stream.
Lt/Rt Surround Downmix Sets the LtRt Surround Control metadata for the Dolby bit-stream.
Lo/Ro Center Downmix Sets the LoRo Center Control metadata for the Dolby bit-stream.
Sets the LoRo Surround Control metadata for the Dolby bit-
Lo/Ro Surround Downmix
stream.
Dolby Surround EX Sets the Surround EX Control metadata for the Dolby bit-stream.
DC Filter Sets the DC Filter Control metadata for the Dolby bit-stream.
Lowpass Filter Sets the Lowpass Filter Control metadata for the Dolby bit-stream.
LFE Lowpass Filter Sets the LFE Lowpass Filter metadata for the Dolby bit-stream.

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Sets the Surround Phase Shift Control metadata for the Dolby bit-
Surround Phase Shift
stream.
Sets the 3 dB Attenuation Control metadata for the Dolby bit-
Surround 3dB Attenuation
stream.
Sets the RF Overmod Protect Control metadata for the Dolby bit-
RF Overmod Protect
stream.
RF Mode Sets the RF Mode metadata for the Dolby bit-stream.
Line Mode Sets the Line Mode metadata for the Dolby bit-stream.
Audio Coding Mode Sets the audio coding mode.
Centre Width Controls the width of front centre sound.
Surround Depth Controls the depth of surround sound .
Controls the amount of time that the surround sound will be
Up Mix Surround Delay
delayed against other channels.
Source Select Selects the audio source.
LFE Gain Controls the LFE channel gain after audio is up-mixed.
Sound Direction Detect Rate Controls the detection rate of sound direction.

Table 7-2: VistaLINK® Controlled Parameters

7.4. VISTALINK® TRAPS

The 7711UC-HD modules will raise a VistaLINK® trap if the temperature of the main or sub cards rises
above 100 °F.

Parameter Description
Displays the trap status of Standard Definition Closed Captioning
SD CC1 to SD CC3 Not Present
for captions 1 to 3.
CEA708 Service 1 to CEA708
Displays the trap status of CEA708 Service 1 to 16.
Service 16 Not Present
Video Missing Displays the status of the video missing trap.
External Genlock Missing Displays the status of the genlock missing trap.
External Genlock Not valid Displays the status of the genlock not valid trap.
Audio Group 1 to 4 Not
Displays the trap status of audio group 1 to 4.
Present
AFD Loss Displays the status of the AFD loss trap.
AES1 to AES8 Loss Displays the trap status of AES1 to AES8.
Temperature Displays the status of the temperature trap.

Table 7-3: VistaLINK® Controlled Parameters

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8. MENU QUICK REFERENCE

Video Audio Proc Ch5-Ch8 Video Proc
− Video Standard Input − Source X − RGB Clip
− Video Standard Output − Gain Adjust X − Y Gain
− Video Input Source − Invert Enable X − Y Offset (Black Level)
− SD Blanking − Source Y − Cr Gain
− Reference Select − Gain Adjust Y − Cr Offset
− V Phase Offset − Invert Enable Y − Cb Gain
− H Phase Offset − Cb Offset
− 3G Dual Link Channel Swap − Hue
− Loss of Video Mode Audio Proc Ch9-Ch12 − R Gain
− FS Only Mode − Source X − G Gain
− VITC Read − Gain Adjust X − B Gain
− VITC Write − Invert Enable X − Saturation Gain
− Time Code Source − Source Y − Video Gain
− Main PGM in BNC Video Std − Gain Adjust Y − Gamma Adjust
− Backup PGM in BNC Video Std − Invert Enable Y − Gamma Level
− Input Video BNC − Red Gamma Level
− Video Payload ID − Green Gamma Level
− External Genlock Standard Audio Proc Ch13-Ch16 − Blue Gamma Level
− Video Delay − Source X
− CDP Parser − Gain Adjust X
− Input AFD Code Status − Invert Enable X Scaler
− Output AFD Code Status − Source Y − H Slew Limit
− Gain Adjust Y − V Slew Limit
− Invert Enable Y − Red Panel
Audio − Green Panel
− Audio Delay − Blue Panel
− SRC Mode De-Interlacer Control − H Filter Cutoff
− Embedder Group 1 Enable − Deinterlacer Mode − V Filter Cutoff
− Embedder Group 2 Enable − Deinterlacer Type − AFD Stamp
− Embedder Group 3 Enable − IFMD Mode − Aspect Ratio Conversion
− Embedder Group 4 Enable − IFMD Threshold − Input H Start
− C-Bit − Film Detection Mode − Input H Stop
− DMX loss of video − Input V Start
− SRC Status − Input V Stop
− Audio Delay − Output H Start
− Video Delay − Output H Stop
− Output V Start
− Output V Stop
Audio Input
− Ch 1+2
− Ch 3+4 CC Control
− Ch 5+6 − CC Enable
− Ch 7+8 − HD Write Line
− Ch 9+10 − Loss of CC Timeout
− Ch 11+12 − CC1 To CEA708 Service
− Ch 13+14 − CC2 To CEA708 Service
− Ch 15+16 − CC3 To CEA708 Service
− CC4 To CEA708 Service
Audio Proc Ch1-Ch4 − T1 To CEA708 Service
− Source X − T2 To CEA708 Service
− Gain Adjust X − T3 To CEA708 Service
− Invert Enable X − T4 To CEA708 Service
− Source Y
− Gain Adjust Y
− Invert Enable Y

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Utilities Control CC Fault Traps Dolby Metadata Control

− Recall Preset − SD CC1 to SD CC3 Not Present (Program 1 & 2 to Program 7 & 8)
− Store User Preset − CEA708 Service 1 to 16 Not − Bitstream Mode
− Auto Recall Presets Present − Center Mix Level
− Surround Mix Level
SD Aperture Control Audio/Video Traps − Surround Mode
− Ap Aspect Ratio Source − Video Missing − Dialnorm
− First Pixel Num in SD Prod Ap − External Genlock Missing − Audio Prod. Info
− Last Pixel Num in SD Prod Ap − External Genlock Not Valid − Mix Level
− First Line Num in SD Prod Ap − Audio Group 1 to 4 Not Present − Room Type
− Last Line Num in SD Prod Ap − AFD Loss − Copyright
− First Pixel Num in SD Clean Ap − AES1 to AES8 Loss − Original Bitstream
− Last Pixel Num in SD Clean Ap − Temperarure − Preferred Downmix
− First Line Num in SD Clean Ap − Lt/Rt Center Downmix
− Last Line Num in SD Clean Ap GPIO (GPIO1 - GPIO4) − Lt/Rt Surround Downmix
− None − Lo/Ro Center Downmix
Image Enhancement − Recall Preset − Lo/Ro Surround Downmix
− Image Enhancement Enable − Play Logo − Dolby Surround EX
− Detail Gain − Play Loop Logo − DC Filter
− Enhancement Limit − Tally Logo − Lowpass Filter
− Horizontal Band − Tally Preset − LFE Lowpass Filter
− Vertical Intensity
− Surround Phase Shift
− Luma Floor
Audio 5.1 Down Mix − Surround 3dB Attenuation
− Detail Noise Floor
− L Source − RF Overmod Protect
− R Source − RF Mode
AFD Control
− C Source − Line Mode
− AFD Input Enable
− LFE Source − Audio Coding Mode
− Loss of AFD Mode
− Ls Source
− AFD Stamp Source
− Rs Source
− Output SD Aspect Ratio
− Output Scaling Mode Up Mix Control
− AFD Output Enable
− Output Gain − Center Width
− AFD Output Line
− LFE Mixing − Surround Depth
− Surround Phase − Up Mix Surround Delay
AFD ARC
− Down Mix Type − Source Select
− AFD Select
− LR_lev − LFE Gain
− AFD Stamp
− C_lev − Sound Direction Detect Rate
− Aspect Ratio Conversion
− Ls_lev_L
− Input H Start
− Rs_lev_L
− Input H Stop
− Ls_lev_R
− Input V Start
− Rs_lev_R
− Input V Stop
− Output H Start
Dolby Metadata Encoder
− Output H Stop
− Out Enable
− Output V Start
− Output Line
− Output V Stop
− Output DID
− Output SDID
− Program Config
Noise Control
− Method
− General Level
− BAR Level
− MNR Level

SCTE104
− Enable
− Line Out

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