Matrox Axio

Installation and User Guide

March 31, 2011

v Y10934-201-0512
Trademarks
Matrox Electronic Systems Ltd. ......................................................... Matrox®, Axio™, CompressHD™, DigiSuite™,
Matrox RT™, Mtx.utils™, RT.X2™, X.io™, X.link™,
X.linkHD™, X.linkLE™, X.linkSD™
Adobe Systems Inc............................................................................ Adobe®, After Effects®, Encore®, Photoshop®, Premiere®,
Soundbooth®
Advanced Micro Devices, Inc............................................................. AMD Opteron™
Apple Inc........................................................................................... Apple®, FireWire®
Autodesk, Inc. ................................................................................... Autodesk ®, 3ds Max®, Combustion®
eyeon Software Inc. .......................................................................... Fusion®
Intel Corporation ............................................................................... Intel®, Xeon®
International Business Machines Corporation .................................... IBM ®, VGA®
Microsoft Corporation........................................................................ Microsoft®, ActiveMovie ®, DirectShow®, DirectX ®,
Windows®, Windows Media ®, Windows Vista®
NewTek, Inc. ..................................................................................... LightWave 3D®
Panasonic (Matsushita Electric Industrial Co.).................................... Panasonic®, VariCam®, AVCHD™, DVCPRO™,
DVCPRO50™, DVCPRO HD™
PCI-SIG ............................................................................................. PCI-SIG®, PCI Express®, PCIe®, PCI-X®, PCI™
Silicon Graphics International ............................................................ OpenGL®
Sony Corporation .............................................................................. Sony®, XDCAM®, AVCHD™, DVCAM™, HDV™,
XDCAM EX™
Victor Company of Japan, Limited (JVC) ............................................ JVC™, D-9™, HDV™

ASIO is a trademark and software of Steinberg Media Technologies GmbH.

All other nationally and internationally recognized trademarks and tradenames are hereby acknowledged.

Copyright © 2011 Matrox Electronic Systems Ltd. • All rights reserved.

Disclaimer Matrox Electronic Systems Ltd. reserves the right to make changes in specifications at any time and without notice.
The information provided by this document is believed to be accurate and reliable. However, no responsibility is assumed by Matrox
Electronic Systems Ltd. for its use; nor for any infringements of patents or other rights of third parties resulting from its use. No
license is granted under any patents or patent rights of Matrox Electronic Systems Ltd.
Unauthorized recording or use of broadcast television programming, video tape, or other copyrighted material may violate copyright
laws. Matrox Electronic Systems Ltd. assumes no responsibility for the illegal duplication, use, or other acts that infringe on the
rights of copyright owners.

Matrox Electronic Systems Ltd.

1055 St. Regis Blvd., Dorval, Quebec, Canada H9P 2T4
Tel: (514) 685-2630 Fax: (514) 685-2853 World Wide Web: www.matrox.com
 i
Matrox License Agreement, Warranty, and Service
A. Matrox software license agreement for single-user products
By installing the software, you, the original purchaser, indicate your acceptance of these terms. If you do not
agree to the terms of this agreement, please return your Matrox product to your Matrox representative.
This Matrox software, any included sample images and other files (the “Software”), is copyrighted by Matrox
Electronic Systems Ltd. All rights are reserved. You are granted a license to use the Software only, subject to the
following restrictions and limitations:
1 The license is to you the original purchaser only, and is not transferable without written permission of Matrox.
2 You may install the Software on an unlimited number of computers owned or leased by you in any location.
However, you must use the Software on a single computer owned or leased by you at a time in conjunction for
the purpose of operating the Matrox hardware.
3 For the purposes of clarity, notwithstanding the fact that you may install the Software on more than one
computer owned or leased by you, you may not use the Software on more than a single machine at a time,
even if you own or lease more than one machine, without the express written consent of Matrox.
4 You may make back-up copies of the Software for your own use only, subject to the use limitations of this
license.
5 You may not engage in, nor permit third parties to engage in, any of the following:
a Providing or disclosing the Software to third parties.
b Providing use of the Software in a computer service business, network, time-sharing, multiple CPU, or
multi user arrangement to users who are not individually licensed by Matrox.
c Making alterations or copies of any kind in the Software (except as specifically permitted above).
d Attempting to disassemble, decompile, or reverse-engineer the Software in any way.
e Granting sublicenses, leases, or other rights in the Software to others.
f Making copies, or verbal or media translations of the user's guide.
g Making telecommunication data transmissions of the Software.
Matrox reserves the right to terminate this license without prejudice to any additional recourses Matrox may have
against you if you violate any of its terms and conditions.

B. Software limited warranty

MATROX WARRANTS TO YOU, THE ORIGINAL PURCHASER, WHO PROVIDES AN ADEQUATE
PROOF OF PURCHASE, THAT THE MEDIA ON WHICH THE SOFTWARE IS RECORDED IS FREE
FROM DEFECTS IN MATERIALS AND WORKMANSHIP UNDER NORMAL USE, AND THAT THE
SOFTWARE WILL PERFORM SUBSTANTIALLY AS DESCRIBED IN THE RELATED
DOCUMENTATION PROVIDED BY MATROX FOR A PERIOD OF NINETY (90) DAYS FROM THE DATE
OF PURCHASE.
MATROX PROVIDES YOU THE SOFTWARE AND RELATED DOCUMENTATION ON AN “AS IS” BASIS
WITHOUT ANY WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING BUT
NOT LIMITED TO ANY IMPLIED WARRANTY OF MERCHANTABILITY, NON-INFRINGEMENT OR
FITNESS FOR A PARTICULAR PURPOSE AS WELL AS THE WARRANTY AGAINST HIDDEN OR
LATENT DEFECTS, ALL OF WHICH MATROX SPECIFICALLY DISCLAIMS (AND YOU, THE
ORIGINAL PURCHASER, BY ACCEPTING THE PRODUCT, SPECIFICALLY ACCEPTS SUCH
DISCLAIMER AND WAIVER) TO THE MAXIMUM EXTENT PERMITTED BY LAW. THE ENTIRE RISK
AS TO THE RESULTS AND PERFORMANCE OF THE SOFTWARE IS ASSUMED BY YOU. SHOULD
THE SOFTWARE PROVE DEFECTIVE, YOU (AND NOT MATROX, ITS DISTRIBUTORS OR DEALERS)
ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
MATROX DOES NOT WARRANT THAT THE OPERATION OF THE SOFTWARE WILL BE
UNINTERRUPTED OR ERROR-FREE, THAT DEFECTS IN THE SOFTWARE WILL BE CORRECTED, OR

Matrox License Agreement, Warranty, and Service

ii
THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR PERFORM WITH ANY
HARDWARE OR SOFTWARE PROVIDED BY THIRD PARTIES.

C. End-user registration
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section of our website at www.matrox.com/video/support. The information you provide will assist Matrox
to quickly diagnose and correct any problem that might arise when using the product. Only registered end
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MATROX WARRANTS TO YOU, THE ORIGINAL PURCHASER, WHO PROVIDES AN ADEQUATE
PROOF OF PURCHASE, THAT THE MATROX HARDWARE PRODUCTS WILL BE FREE FROM
FACTORY DEFECTS FOR A PERIOD OF ONE (1) YEAR FROM THE DATE OF PURCHASE.
MATROX WILL REPAIR OR REPLACE, AT THE CHOICE OF MATROX, THE MATROX
HARDWARE PRODUCTS WHICH PROVE TO BE DEFECTIVE DURING THE WARRANTY
PERIOD, PROVIDED THAT THEY ARE RETURNED TO MATROX, SUBJECT TO THE
FOLLOWING LIMITATIONS:
Matrox's limited warranty covers only those defects which arise as a result of normal use of the hardware
and does not apply to any:
$ improper or inadequate maintenance;
$ incompatibilities due to the user's hardware or software applications with or in which the Matrox
product interfaces;
$ product of a special or custom-made nature;
$ unauthorized modification or misuse;
$ improper installation, misapplication or negligence;
$ operation outside the product's environmental specifications;
$ improper site preparation or maintenance;
$ software;
$ other causes that do not relate to a product defect;
$ defects or damage suffered as a result of force majeure (including theft);
$ defects or damage suffered as a result of normal wear and tear, and/or
$ stolen goods.
If Matrox receives from you, during the applicable warranty period notice of a defect in a warranted
hardware product and the defective Matrox product in question, Matrox shall at its sole option, either repair
or replace the product, and shall return the repaired product or a replacement product within a reasonable
delay. The replacement product may not be new, provided that it has functionality at least equal to that of
the product being replaced. This warranty is valid in any country where Matrox hardware products are
distributed by Matrox or its authorized dealers.
This limited warranty statement gives you specific legal rights. You may also have other rights which vary
from state to state in the United States, from province to province in Canada, and from country to country
elsewhere in the world.

E. Limitations of warranty
EXCEPT FOR THE SOFTWARE LIMITED WARRANTY AND HARDWARE LIMITED WARRANTY
STATEMENTS, NEITHER MATROX NOR ANY OF ITS THIRD PARTY SUPPLIERS MAKES ANY
OTHER WARRANTY OF ANY KIND, WHETHER EXPRESSED OR IMPLIED, WITH RESPECT TO
MATROX PRODUCTS. MATROX SPECIFICALLY DISCLAIMS (AND YOU, BY ACCEPTING THE
MATROX PRODUCT, SPECIFICALLY ACCEPTS SUCH DISCLAIMER AND WAIVES) ALL OTHER

Matrox License Agreement, Warranty, and Service

 iii
WARRANTIES, EITHER EXPRESSED OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR OR INTENDED
PURPOSE OR USE AND THE WARRANTY AGAINST LATENT DEFECTS, WITH RESPECT TO THE
HARDWARE AND/OR SOFTWARE. MATROX FURTHER DISCLAIMS ANY WARRANTY THAT
MATROX PRODUCTS, IN WHOLE OR IN PART, WILL BE FREE FROM INFRINGEMENT OF ANY
THIRD PARTY INTELLECTUAL PROPERTY OR PROPRIETARY RIGHTS.
TO THE EXTENT THAT THESE LIMITED WARRANTY STATEMENTS ARE INCONSISTENT WITH
THE LAW OF THE LOCALITY WHERE YOU PURCHASED THE MATROX PRODUCT, THESE LIMITED
WARRANTY STATEMENTS SHALL BE DEEMED MODIFIED TO BE CONSISTENT WITH SUCH
LOCAL LAW. UNDER SUCH LOCAL LAW, CERTAIN LIMITATIONS OF THESE LIMITED WARRANTY
STATEMENTS MAY NOT APPLY TO YOU.
TO THE EXTENT ALLOWED BY LOCAL LAW, THE REMEDIES PROVIDED IN THESE LIMITED
WARRANTY STATEMENTS ARE YOUR SOLE AND EXCLUSIVE REMEDIES.

F. Limitations of liability
EXCEPT FOR THE OBLIGATIONS SPECIFICALLY SET FORTH IN THE SOFTWARE LIMITED
WARRANTY AND HARDWARE LIMITED WARRANTY STATEMENTS, IN NO EVENT SHALL
MATROX BE LIABLE FOR ANY DIRECT, INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL,
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CONTRACT, TORT, DELICT OR ANY OTHER LEGAL THEORY AND WHETHER ADVISED OF THE
POSSIBILITY OF SUCH DAMAGES, AND/OR DAMAGES ARISING FROM THE LOSS OF USE, DATA,
PRODUCTION REVENUE AND/OR PROFIT OF IN CONNECTION WITH THE MATROX PRODUCT OR
ANY BUSINESS INTERRUPTION. WITHOUT PREJUDICE TO THE FOREGOING, ANY LIABILITY OF
MATROX FOR ANY BREACH OF WARRANTY SHALL BE LIMITED TO THE AMOUNT PAID BY YOU
FOR THE DEFECTIVE HARDWARE IN QUESTION.
TO THE EXTENT ALLOWED BY LOCAL LAW, MATROX'S ENTIRE LIABILITY AND YOUR
EXCLUSIVE REMEDY SHALL BE THE REPAIR OR REPLACEMENT OF ANY DEFECTIVE PRODUCT
DURING THE WARRANTY PERIOD. MATROX DOES NOT OFFER ANY OTHER WARRANTY WITH
RESPECT TO MATROX HARDWARE OR SOFTWARE OR ANY OTHER HARDWARE OR SOFTWARE.
YOU SHALL BE RESPONSIBLE FOR ALL APPLICABLE TAXES, DUTIES AND CUSTOMS FEES ON
ANY REPLACEMENT UNIT, AS WELL AS ALL TRANSPORT, INSURANCE, STORAGE AND OTHER
CHARGES INCURRED ON ALL RETURNED PRODUCTS.

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Matrox disclaims and shall have no obligation to indemnify or defend you or any third party in respect of any
actual or alleged infringement of any actual or pending patents, copyright or other intellectual property rights.
Matrox shall have no liability arising out of any such actual or alleged intellectual property infringement.
MATROX SPECIFICALLY MAKES NO REPRESENTATION AND DISCLAIMS ALL EXPRESS OR
IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT.

H. Unauthorized use
THE MATROX LICENSED SOFTWARE AND ANY DOCUMENTATION RELATED THERETO ARE NOT
DESIGNED, INTENDED, OR AUTHORIZED FOR USE IN ANY TYPE OF SYSTEM OR APPLICATION IN
WHICH THE FAILURE OF THE LICENSED SOFTWARE COULD CREATE A SITUATION WHERE
PERSONAL INJURY OR DEATH MAY OCCUR (E.G., MEDICAL SYSTEMS, LIFE SUSTAINING OR LIFE
SAVING SYSTEMS). Should the LICENSEE license or use the Matrox Licensed Software for any such
unintended or unauthorized use, the Licensee shall indemnify and hold Matrox and its officers, subsidiaries and
affiliates harmless against all claims, costs, damages, and expenses, and reasonable attorney fees arising out of,
directly or indirectly, any claim of product liability, personal injury or death associated with such unintended or

Matrox License Agreement, Warranty, and Service

iv
unauthorized use, even if such claim alleges that Matrox was negligent regarding the design or manufacture
of the Licensed Software.

I. Procedure for returning goods

No returned goods, for service or otherwise, will be accepted without prior authorization from Matrox. To
obtain return authorization, contact Matrox Customer Support (see the contact information at
www.matrox.com/video/support). Once approved, Matrox will contact you with your Returned
Merchandise Authorization (RMA) number. Matrox cannot be responsible for units returned without an
RMA number. Matrox will advise you of the shipping address. The packaging must indicate the RMA
number on the outside. It is strongly recommended that a copy of the original packing slip which states the
serial number of the items you're returning be included with the returned merchandise. This will speed up
processing.
Each individual, returned unit or group of units MUST have an RMA number issued by Matrox. Matrox
must authorize the number of units grouped under one RMA number. Any units received without prior
approval by Matrox will be returned to you freight collect.
You shall be responsible for the cost of consolidated freight (one way only) for warranty units from your
location to the location designated by Matrox. Once repaired, Matrox will incur the cost of consolidated
freight for warranty units to your location.

Matrox License Agreement, Warranty, and Service

 v
Matrox End-user VFW Software Codec License Agreement (“Agreement”)
IMPORTANT - PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING,
COPYING OR USING THE SOFTWARE. THIS IS A LEGAL AGREEMENT BETWEEN YOU THE END USER
(“END USER”) AND MATROX ELECTRONIC SYSTEMS LTD. (“MATROX”) CONCERNING THE MATROX
VIDEO FOR WINDOWS SOFTWARE CODEC PACKAGE (COLLECTIVELY, THE “SOFTWARE”) WHICH END
USER WISHES TO USE FOR PERSONAL USE. END USER ACKNOWLEDGES AND AGREES THAT IT WILL
BE LEGALLY BOUND BY THE TERMS OF THIS AGREEMENT.
Supported formats: DV/DVCAM, DVCPRO, DVCPRO50, DVCPRO HD, MPEG-2 I-frame SD, MPEG-2 I-frame
HD (includes 720p, full-size 1080i/p, and 1440x1080i/p), MPEG-2 I-frame SD + Alpha, MPEG-2 I-frame HD +
Alpha, Offline HD, HDV and EZ-HDV (playback only), Uncompressed 8-bit and 10-bit SD, Uncompressed 8-bit and
10-bit HD, Uncompressed 8-bit and 10-bit SD + Alpha, Uncompressed 8-bit and 10-bit HD + Alpha, EZ-MXF
(playback only), and Motion-JPEG (playback only).

1. License
Matrox hereby grants the End User a non-exclusive, non-transferable, royalty-free, right to use and copy in
object code form the Software for internal purposes in conjunction with a Matrox product only (the “Purpose”),
subject to the terms and conditions of this Agreement. End user shall only use the Software on a single computer
at a time. End User must maintain all copyright notices on all copies of the Software. Matrox may make changes
to the Software at any time without prior notice. In addition, Matrox is under no obligation whatsoever to update,
maintain, or provide new versions of the Software or to provide any support in connection with the Software.

2. Restrictions
End User agrees that it will not: (a) sell, rent, assign or transfer or grant a sublicense of the Software or the
license contained herein to any other party; (b) adapt, alter, modify, prepare derivative works from, merge or
transfer the Software; (c) break or attempt to break the protection algorithm, reverse engineer, reverse assemble,
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alter and redistribute the Software in whole or in part other than for the Purpose.
End User may not use the Software for any unlawful purpose, including infringement of the copyrights or other
propriety rights of others, or in any illegal manner or for creation or distribution of unlawful content. End User
agrees to indemnify Matrox for any and all claims arising from any violation by it of the terms of this License
Agreement.
End User acknowledges that the Software is subject to export laws and agrees to comply with all applicable
international and national laws that apply to these products.

3. Copyright and ownership

End User acknowledges and agrees that the Software and all associated documentation, including logos, names
and other support materials furnished in this package are exclusively owned by Matrox and/or its suppliers. The
Software codes, structure and organization are the valuable trade secrets of Matrox. The Software and all
associated documentation are also protected by copyright laws and international copyright treaties, as well as
other intellectual property laws and treaties. No title to the intellectual property in the Software, the
documentation, magnetic/optical/solid-state media or any other material provided therewith is transferred to End
User by this Agreement. This Agreement does not convey to End User an interest in or to the Software, but only
a limited right to use the Software in accordance with the terms of this Agreement. The Software is licensed to
End User and not sold.

Matrox End-user VFW Software Codec License Agreement (“Agreement”)

vi
4. Exclusion of warranty
MATROX PROVIDES TO END USER THE SOFTWARE AND RELATED DOCUMENTATION ON AN
“AS IS” BASIS WITHOUT ANY WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED
INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTY OF MERCHANTABILITY,
NON-INFRINGEMENT OR FITNESS FOR A PARTICULAR PURPOSE AS WELL AS THE
WARRANTY AGAINST HIDDEN OR LATENT DEFECTS, ALL OF WHICH MATROX
SPECIFICALLY DISCLAIMS (AND THE CUSTOMER BY ACCEPTING THE PRODUCT
SPECIFICALLY ACCEPTS SUCH DISCLAIMER AND WAIVER) TO THE MAXIMUM EXTENT
PERMITTED BY LAW. THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THE
SOFTWARE IS ASSUMED BY END USER. SHOULD THE SOFTWARE PROVE DEFECTIVE, END
USER (AND NOT MATROX, ITS DISTRIBUTORS OR DEALERS) ASSUMES THE ENTIRE COST
OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
MATROX DOES NOT WARRANT THAT THE SOFTWARE WILL MEET END USER'S
REQUIREMENTS OR THAT IT'S OPERATION WILL BE ERROR-FREE.
MATROX HAS NO OBLIGATION TO INDEMNIFY, DEFEND OR HOLD END USER HARMLESS
FROM AND AGAINST ANY CLAIM THAT ANY THIRD PARTY SOFTWARE INFRINGES ANY
THIRD PARTY PATENT, COPYRIGHT, TRADEMARK OR OTHER INTELLECTUAL PROPERTY
RIGHT. END USER WILL PROMPTLY NOTIFY MATROX IN WRITING OF ANY SUCH CLAIM.
MATROX HAS NO OBLIGATION TO INDEMNIFY, DEFEND OR HOLD END USER HARMLESS
FROM AND AGAINST ANY CLAIMS OF INFRINGEMENT OF INTELLECTUAL PROPERTY THAT
READS UPON OR IS INFRINGED BY A GENERALLY RECOGNIZED AUDIO, VIDEO,
TECHNOLOGY OR PATENT STANDARD OR RECOMMENDATIONS, INCLUDING WITHOUT
LIMITATION AVC/H.264, IEEE 1394, JPEG, JPEG2000, MPEG-1, MPEG-2 AND MPEG-4.

5. Limitation of Liability
A) Each party as well as any of its officers, employees, suppliers, agents or subcontractors shall under no
circumstance whatsoever and whether a claim is based on breach of contract or warranty, infringement or
any other intellectual property claims, negligence, strict liability in tort or otherwise or arises under any
other doctrine in law or equity, be liable to or have to indemnify the other party for:
(i) Indirect, special, incidental, punitive and consequential damages, whether foreseeable or
unforeseeable, and even if advised of the possibility of such damages or losses;
(ii) Damages arising from loss of use, data, profits, production revenue, bargain, business, revenues,
anticipated savings, opportunities, investment or loss or production, wasted expenditures, costs of
substitute goods or services and generally any kind of economic, commercial and financial loss
arising directly or indirectly out of or in connection with this Agreement, including without
limitation all such damages and losses resulting from the use of the Software, any mistakes, errors,
delays, defects, failures, defaults, interruptions or generally any acts or omissions, whether or not the
party has been advised of the possibility of such damages or losses. The total and cumulative liability
from one party to the other party arising from or in connection with this Agreement (whether
liabilities arise from breach of contract or warranty, negligence, strict liability in tort or otherwise or
under any other doctrine in law or equity) shall under no circumstance exceed the aggregate of all
fees and payments actually received by Matrox from End User under this Agreement.
B) Matrox will have no obligations under this section or otherwise with respect to any infringement claim
in whole or in part based upon any direct, contributory or other infringement related to the licensed
Software, or the use thereof, with respect to (including conformance to) any standards promulgated, revised
or maintained by a standards organization, standards bodies or similar private or public organization,
including, without limitation, the various standards promulgated by the MPEG Licensing Authority, LLC
(or MPEG LA). Matrox has no obligation to indemnify, defend or hold End User harmless from and against
any claims of infringement of intellectual property that reads upon or is infringed by a generally recognized

Matrox End-user VFW Software Codec License Agreement (“Agreement”)

 vii
audio, video, technology or patent standard or recommendations, including without limitation AVC/H.264, IEEE
1394, JPEG, JPEG2000, MPEG-1, MPEG-2 and MPEG-4.

6. Confidentiality
Except as licensed hereunder, End User shall treat the Software and all related information as confidential
information and refrain from making any such information or the Software itself available to any other person.
End User will take commercially reasonable precautions to safeguard the confidentiality of the Software,
including those taken by End User to protect its own trade secrets. The obligation of confidentiality shall not
apply or shall cease to apply to any information that (a) was known to End User independently of its receipt
hereunder; (b) is or becomes publicly available without breach of this Agreement; or (c) is disclosed by End User
pursuant to court order or other requirement imposed by law, provided that Matrox is given a reasonable
opportunity to object to or restrict such disclosure requirement to the extent practicable, and then such disclosure
shall be permitted only subject to the terms and conditions of such order or other legal requirement.

7. Termination
This Agreement is effective until terminated. End User may terminate this Agreement at any time by destroying
all copies of the Software and related materials. This Agreement is conditioned upon End User's continued
compliance with the Agreement and will terminate automatically and irrevocably if End User fails to comply
with any material term or condition of this Agreement. Matrox will provide written notice to End User of such
termination in advance where practical, or otherwise promptly following such termination. Such termination is
without prejudice to Matrox's other rights hereunder at law or in equity. In event of termination, End User must
destroy all copies of the Software and related materials and certify in writing and under oath that all such copies
have been destroyed, and End User's license and rights under this Agreement shall terminate. In the event of
termination of this Agreement, the provisions of Sections 2, 3, 4, 6, 7, 8 and 10 shall survive and will remain in
full force and effect.

8. General
8.1 Matrox shall not be liable for delay or failure in performance resulting from acts beyond its reasonable
control, including but not limited to acts of God, acts of war, terrorism, riot, fire, flood, or other disaster, acts of
government, strike, lockout, communication line or power failure.
8.2 End User shall not have the right to assign the benefit of this Agreement without the prior written permission
from Matrox and then only under such conditions as Matrox may reasonably determine.
8.3 If any provision of this Agreement is declared by a body of competent jurisdiction to be invalid, such
provision shall be severed from this Agreement and the other provisions shall remain in full force and effect.
8.4 A term or condition of this Agreement can be waived or modified only with the written consent of both
parties. Forbearance or indulgence by either party in any regard shall not constitute a waiver of the term or
condition to be performed, and either party may invoke any remedy available under this Agreement or by law
despite such forbearance or indulgence.
8.5 The relationship between Matrox and you is that of an independent contractor and its customer and under no
circumstances shall either party, its agents or employees be deemed agents or representatives of the other party.
Neither party shall have the right to enter into any contracts or commitments in the name of or on behalf of the
other party in any respect whatsoever. In addition, neither party shall hold itself out to anyone, or otherwise
represent, that it has any such authority vis-a-vis the other party.
Both parties agree to comply with all applicable laws, rules, regulations, orders and ordinances of the state,
province and/or country where it resides and in any other state, province and/or country with jurisdiction over it
or its activities in performance of its obligations hereunder, including without limitation all applicable duty,
taxes, import and/or export regulations and all licensing or permit requirements.
8.6 This Agreement and any schedule attached hereto contains the complete and exclusive statement of the
agreement between the parties and supersedes all prior and contemporaneous agreements, including, but not

Matrox End-user VFW Software Codec License Agreement (“Agreement”)

viii
limited to, understandings, proposals, negotiations, representations or warranties of any kind whether oral
or written with respect to the subject matter hereof. No oral or written representation which is not expressly
contained in this Agreement is binding on Matrox or End User.
8.7 This Agreement will be governed by and construed in accordance with the laws of the Province of
Quebec. The United Nations Convention on Contracts for the International Sale of Goods shall not apply to
this Agreement.

9. Unauthorized use
THE MATROX LICENSED SOFTWARE AND ANY DOCUMENTATION RELATED THERETO ARE
NOT DESIGNED, INTENDED, OR AUTHORIZED FOR USE IN ANY TYPE OF SYSTEM OR
APPLICATION IN WHICH THE FAILURE OF THE LICENSED SOFTWARE COULD CREATE A
SITUATION WHERE PERSONAL INJURY OR DEATH MAY OCCUR (E.G., MEDICAL SYSTEMS,
LIFE SUSTAINING OR LIFE SAVING SYSTEMS). Should the LICENSEE license or use the Matrox
Licensed Software for any such unintended or unauthorized use, the Licensee shall indemnify and hold
Matrox and its officers, subsidiaries and affiliates harmless against all claims, costs, damages, and
expenses, and reasonable attorney fees arising out of, directly or indirectly, any claim of product liability,
personal injury or death associated with such unintended or unauthorized use, even if such claim alleges
that Matrox was negligent regarding the design or manufacture of the Licensed Software.

Matrox End-user VFW Software Codec License Agreement (“Agreement”)

 Contents
Chapter 1
Introducing Matrox Axio
Welcome to Matrox Axio ...................................................................... 2
Hardware supplied for Matrox Axio LE ................................................ 2
Hardware supplied for Matrox Axio HD and SD ................................... 2
Matrox Axio LE system requirements .................................................. 2
Matrox Axio HD and SD system requirements..................................... 3
About this manual ................................................................................. 4
Style conventions ....................................................................................... 4
How video formats are expressed ............................................................. 4
Last-minute information.............................................................................. 5

Chapter 2
Installing Your Matrox Axio LE Hardware
Before you install your Matrox Axio LE card ........................................ 8
Start with a functioning system................................................................... 8
Avoid costly damage .................................................................................. 8
Providing adequate ventilation.................................................................... 8
Format your A/V drives using NTFS ........................................................... 10
About the PCI retainer bracket ................................................................... 11
Removing the PCI retainer bracket.............................................................11
Connect the internal power supply cable to your Axio LE PCIe card ......... 12
Connect the internal analog audio cable to your Axio LE card .................. 13
Install your Matrox Axio LE card.......................................................... 14
Before restarting your computer......................................................... 14

Chapter 3
Connecting External Devices to Matrox Axio LE
X.linkLE breakout box connections ..................................................... 16
X.linkLE video connections ........................................................................ 16
X.linkLE audio connections ........................................................................ 16
Attaching the rubber feet to X.linkLE................................................... 17
Attaching the rackmount brackets to X.linkLE .................................... 17
Connect your X.linkLE audio/video and SDI cables
to the Axio LE card ............................................................................. 19
x

Connect your X.linkLE balanced analog audio cable

to the audio cable bracket .................................................................20
Connect your X.linkLE 1394 cable to your computer .......................... 21
Using the X.linkLE S-Video adapter cables ......................................... 21
Typical Matrox Axio LE connections ...................................................23
X.linkLE analog component connections ...................................................23
X.linkLE S-Video connections ....................................................................24
X.linkLE digital video connections ..............................................................25

Chapter 4
Installing Your Matrox Axio HD or SD Hardware
Before you install your Matrox X.io card .............................................28
Start with a functioning system .................................................................28
Avoid costly damage .................................................................................28
Providing adequate ventilation ..................................................................28
Format your A/V drives using NTFS ...........................................................30
About the PCI retainer bracket .................................................................. 31
Removing the PCI retainer bracket............................................................ 31
Connect the internal power supply cable to your X.io card .......................32
Install your Matrox X.io card ...............................................................32
Before restarting your computer ........................................................33

Chapter 5
Connecting External Devices to Matrox Axio HD and SD
X.linkHD and X.linkSD breakout box connections ...............................36
X.linkHD video connections .......................................................................36
X.linkHD audio connections .......................................................................36
X.linkSD video connections........................................................................36
X.linkSD audio connections .......................................................................36
Prepare for mounting ..........................................................................36
Using the desktop foot .............................................................................. 37
Attaching the desktop pedestal ................................................................ 37
Attaching the rackmount brackets ............................................................38
Attach the ferrite beads to the X.link cable ........................................38
Connect your X.link breakout box to your computer ..........................39
Typical Matrox Axio HD and SD connections......................................40
X.linkHD digital video connections .............................................................40

Contents
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X.linkSD analog component connections................................................... 41

X.linkSD S-Video connections ................................................................... 42
X.linkSD digital video connections............................................................. 43

Chapter 6
Installing Your Matrox Axio Software
Overview of the software installation ................................................. 46
Hardware detection ........................................................................... 46
Installing Matrox Mtx.utils................................................................... 46
Updating your Axio firmware .................................................................... 46
Installing the Matrox effect patterns .................................................. 47
Installing additional Matrox WYSIWYG plug-ins or
removing unneeded plug-ins............................................................. 47
Installing the Matrox VFW software codecs on a system
without the Axio hardware ................................................................ 47
Updating drivers for using DV-1394 devices ...................................... 48
Note about using sleep and hibernation modes with Matrox Axio .... 48
Setting Matrox Axio as your default audio playback device............... 48
Removing your Matrox Axio software ................................................ 49

Chapter 7
Defining Your Adobe Premiere Pro Settings
Running antivirus software with Adobe Premiere Pro........................ 52
Creating a new Matrox project .......................................................... 52
Defining your player settings .............................................................. 53
Displaying warnings in Adobe Premiere Pro’s Events panel.............. 53
A note about realtime playback capabilities....................................... 53
Defining your sequence settings ........................................................ 54
Specifying your general settings ............................................................... 54
Specifying your video output settings (X.linkLE) ....................................... 58
Specifying your video output settings (X.linkHD) ....................................... 61
Specifying your video output settings (X.linkSD) ....................................... 63
Specifying your genlock settings .............................................................. 65
Specifying your audio output settings (X.linkLE) ........................................67
Specifying your audio output settings (X.linkHD and X.linkSD) ................... 71
Selecting your DV-1394 output settings.....................................................75

Contents
xii

Defining your video preview settings ......................................................... 76

Defining your capture settings ............................................................ 77
Specifying your video capture settings ...................................................... 77
Specifying your audio capture settings...................................................... 81
Notes about capturing to Matrox .m2v files ..............................................85
Specifying your audio monitoring settings (X.linkHD and X.linkSD) ............86
Selecting your MPEG-2 I-frame settings ............................................88
Selecting your MPEG-2 IBP settings ...................................................90
Exporting to a Matrox .avi file .............................................................92
Exporting a Matrox NTSC or 486p sequence to MPEG-2 for
DVD authoring ....................................................................................95
Adding a voice-over to your sequence ...............................................96
Connection and setup ...............................................................................96
Recording your voice-over ........................................................................ 97
Setting up Matrox RS-422 device control...........................................99
Exporting your sequence to tape....................................................... 101
Exporting to tape using Matrox RS-422 device control ............................ 101
Obtaining a frame-accurate export to tape using Matrox RS-422
device control ........................................................................................ 104
Exporting to a DVCPRO HD device using DV-1394 device control........... 105
Creating an SD project in 16:9 format ............................................... 107

Chapter 8
Setting Up Realtime Effects with Adobe Premiere Pro
Available effects ................................................................................. 110
How to apply a Matrox video effect in Adobe Premiere Pro ..............111
How to apply a Matrox video transition in Adobe Premiere Pro.........111
Applying a mask to your Matrox effects ............................................ 112
Using Select Mask .................................................................................... 113
Creating a Matrox primary color correction ...................................... 114
Using Split View ........................................................................................ 116
Working with Split View in the Program Monitor ....................................... 117
Using RGB curves .................................................................................... 118
Adjusting tonal range............................................................................... 120
Using the color balance graph ................................................................. 121
Performing an auto balance .................................................................... 124

Contents
 xiii

Matching colors between two clips ......................................................... 125

Using the luma mapping graph................................................................ 127
Creating a Matrox secondary color correction .................................129
Using the selective key graph.................................................................. 134
Creating a color pass effect .................................................................... 138
Overview of the Matrox chroma key effects ..................................... 139
Creating a chroma key or chroma key shadow effect...................... 140
Using the chroma key graph to modify key colors and
perform an auto key ............................................................................... 143
Overview of the Matrox luma key effect ...........................................146
Creating a luma key effect ................................................................ 147
Using the luma key graph ........................................................................ 148
Creating a wipe transition .................................................................150
Using the Matrox chroma clamper effect .........................................152
Selecting your speed control method ...............................................152

Chapter 9
Using Matrox A/V Tools
About Matrox A/V Tools..................................................................... 154
Starting Matrox A/V Tools.................................................................. 154
Using the Matrox A/V Tools interface................................................ 155
Using the A/V Tools pop-up menu .......................................................... 156
Navigating through clips with the transport controls ............................... 156
Defining your A/V Tools options......................................................... 158
Selecting your capture folder................................................................... 160
Defining your playback settings ............................................................... 160
Defining your capture settings ................................................................. 163
How A/V Tools assigns clip names ................................................... 168
Capturing clips...................................................................................168
Capturing live video ................................................................................. 168
Capturing from tape without device control ............................................ 169
Editing clips........................................................................................169
Updating clip information ......................................................................... 169
Changing a clip’s In and Out icons .......................................................... 169
Working with the clip list.................................................................... 170
Adding clips ............................................................................................. 170

Contents
xiv

Playing back clips .....................................................................................170

Saving and loading a clip list .....................................................................170
Copying clips ............................................................................................ 171
Moving clips ............................................................................................. 171
Deleting clips ............................................................................................ 171
Detaching and resizing the clip list ...........................................................172
Grabbing a single-frame image ........................................................ 172
Keyboard shortcuts .......................................................................... 174

Chapter 10
Using the Matrox WYSIWYG Plug-ins
Overview ........................................................................................... 176
Configuring the Matrox WYSIWYG Control Panel ............................. 176
Required steps to use the WYSIWYG plug-ins ..................................177
Adobe After Effects .................................................................................. 177
Adobe Photoshop ....................................................................................177
Autodesk 3ds Max ...................................................................................177
Autodesk Combustion ..............................................................................178
eyeon Fusion ............................................................................................178
NewTek LightWave 3D .............................................................................178

Chapter 11
Using the Matrox Video for Windows Codecs
Overview ........................................................................................... 180
Using VFW programs without the Axio hardware ............................. 180
Before you start rendering................................................................. 181
Selecting color space conversion options ............................................... 182
Rendering material to a Matrox VFW .avi file.................................... 183
Configuring the Matrox DVCPRO HD codec ............................................ 184
Configuring the Matrox Uncompressed codecs ...................................... 184
Configuring the Matrox MPEG-2 I-frame codecs .................................... 185

Chapter 12
Monitoring Your Matrox Axio System
Using X.info to display Axio information ............................................ 188
Displaying system information ................................................................. 188
Displaying hardware information ............................................................. 190
Monitoring your Axio hardware operating temperatures .......................... 191

Contents
 xv

Error notification ....................................................................................... 191

Appendix A
Understanding Standard and Advanced Pulldown
Overview............................................................................................ 194
Standard 2:3 pulldown.......................................................................194
Matrox Axio implementation of standard reverse pulldown..................... 195
Advanced 2:3:3:2 pulldown ............................................................... 195
Matrox Axio implementation of advanced reverse pulldown ................... 196

Appendix B
Matrox Axio Workflows
Overview............................................................................................ 198
Working with SD “24P” material ........................................................198
486p @ 23.98 fps workflow example ....................................................... 199
Working with HD material ................................................................. 200
About the Matrox HD codecs ........................................................... 200
Using the Matrox MPEG-2 I-frame HD codec for online editing ....... 201
MPEG-2 I-frame HD codec workflow example for online editing............. 201
Using the Matrox MPEG-2 I-frame HD codec for offline editing ...... 202
MPEG-2 I-frame HD codec workflow example for offline editing
on an Axio system ................................................................................. 203
MPEG-2 I-frame HD workflow example for offline editing on a
remote system ...................................................................................... 204
Using the Matrox 8-bit and 10-bit Uncompressed HD codecs ........ 205
Matrox Uncompressed codec workflow example .................................. 205
Applying pulldown in HD sequences ................................................ 206
1080p @ 23.98 fps workflow example ......................................................207
Other Matrox Axio HD workflows ..................................................... 208
720p workflow example.......................................................................... 208
1080i workflow example .......................................................................... 210
Editing HD sequences on a Matrox Axio SD system......................... 213
Supported video compression formats ............................................. 215
Matrox Axio LE ........................................................................................ 215
Matrox Axio HD ....................................................................................... 216
Matrox Axio SD........................................................................................ 217

Contents
xvi

Supported main and secondary SDI output formats on

Matrox Axio LE ................................................................................. 218
Supported master output formats on Matrox Axio HD and SD ........ 219

Appendix C
Matrox Axio Specifications
X.io card ............................................................................................222
General ...................................................................................................222
Typical operating voltages and current consumption ..............................222
Environmental specifications ...................................................................222
X.linkSD breakout box .......................................................................223
General ...................................................................................................223
Typical operating voltages and current consumption ..............................223
Video input signals ..................................................................................223
Video output signals ................................................................................224
Audio input/output signals .......................................................................224
Audio specifications ................................................................................225
Environmental specifications ...................................................................225
X.linkHD breakout box.......................................................................226
General ...................................................................................................226
Typical operating voltages and current consumption ..............................226
Video input signals ..................................................................................226
Video output signals ................................................................................ 227
Audio input/output signals ....................................................................... 227
Audio specifications ................................................................................ 227
Environmental specifications ...................................................................228
Axio LE card ......................................................................................229
General ...................................................................................................229
Typical operating voltages and current consumption
(PCI Express card) .................................................................................229
Typical operating voltages and current consumption (PCI-X card) .........229
Video input signals ..................................................................................230
Video output signals ................................................................................ 231
Audio input/output signals ....................................................................... 231
Audio specifications ................................................................................232
Environmental specifications ...................................................................232

Contents
 xvii

Appendix D
Matrox Axio Glossary
Glossary of terms ............................................................................. 234

Appendix E
Matrox Customer Support
How to get Matrox customer support.............................................. 246
Registration ............................................................................................ 246
Keep up to date with our website .......................................................... 246
Contacting us ......................................................................................... 246

Index .........................................................................................247

Contents
xviii

Your notes

Contents
 1
Introducing Matrox Axio
This chapter lists the contents
of your Matrox Axio kit,
provides the Axio system
requirements, and describes
the available documentation.
2

Welcome to Matrox Axio

Matrox Axio provides a complete post-production solution that lets you get
maximum productivity from Adobe Premiere Pro. It is designed to give you the
most comprehensive realtime feature set, the highest quality native codec
technology, and complete file-based workflows – totally integrated with the
Adobe software. For more information on Matrox Axio features, see the Matrox
Video website at www.matrox.com/video.

Hardware supplied for Matrox Axio LE

• Axio LE card, and internal power supply cable for the PCI Express (PCIe)
version of the Axio LE card.
• Axio LE internal balanced analog audio cable with attached audio cable
bracket.
• X.linkLE breakout box.
• X.linkLE balanced analog audio cable.
• 6-pin to 6-pin IEEE-1394 cable for connecting X.linkLE to your computer’s
1394 port.
• Two S-Video adapter cables for connecting S-Video devices to X.linkLE.

Hardware supplied for Matrox Axio HD and SD

• X.io card — input/output card.
• X.linkHD breakout box for Matrox Axio HD, or X.linkSD breakout box for
Matrox Axio SD.
• X.link cable with attachable ferrite beads.
• 4-to-6 pin IEEE-1394 cable.
• Internal power supply cable for the X.io card.
¦ Note The Matrox X.effects card is no longer supported with Matrox Axio HD
or SD.

Matrox Axio LE system requirements

Matrox Axio LE requires a computer with the following minimum system
configuration:
• Microsoft Windows 7 Professional, Ultimate, or Home Premium (64-bit)
with Service Pack 1, or Windows Vista Business or Ultimate (64-bit) with
Service Pack 2.
• Intel Xeon at 3.4 GHz or faster, or AMD Opteron 250 or faster.
• Dual-CPU or one dual-core CPU, depending on processor used.
• 4 GB of RAM.
Chapter 1, Introducing Matrox Axio
 3

• One of the following expansion slots, depending on the type of Axio LE card
you’re installing:
$ A free PCIe x4 slot (or greater) for the PCIe version of Axio LE. The slot
must be wired electrically with at least four lanes.
$ A free PCI-X slot for the PCI-X version of Axio LE.
• A free PCI slot near the Axio LE card to install the Axio LE balanced analog
audio cable bracket.
• Added ventilation (fan) as explained in “Providing adequate ventilation” on
page 8.
• NTFS-formatted A/V drives.
• If you want to use your Matrox Axio system with Adobe Premiere Pro, you
must have Adobe Premiere Pro CS5 version 5.0.3 or later.
For up-to-date information about Matrox Axio LE system requirements, check
the Matrox Video Support site at www.matrox.com/video/support.

Matrox Axio HD and SD system requirements

Matrox Axio HD and SD require a computer with the following minimum system
configuration:
• Microsoft Windows 7 Professional, Ultimate, or Home Premium (64-bit)
with Service Pack 1, or Windows Vista Business or Ultimate (64-bit) with
Service Pack 2.
• Intel Xeon at 3.4 GHz or faster, or AMD Opteron 250 or faster.
• Dual-CPU or one dual-core CPU, depending on processor used.
• An internal power supply of at least 530 watts with one free outlet for the
X.io card.
• 4 GB of RAM.
• One free PCI-X expansion slot running at 100 MHz.
• Added ventilation (fan) as explained in “Providing adequate ventilation” on
page 28.
• NTFS-formatted A/V drives.
• If you want to use your Matrox Axio system with Adobe Premiere Pro, you
must have Adobe Premiere Pro CS5 version 5.0.3 or later.
For up-to-date information about Matrox Axio HD and SD system requirements,
contact your Matrox Axio dealer.

Matrox Axio HD and SD system requirements

4

About this manual

This manual provides you with information about installing and using your
Matrox Axio hardware and software, including how to use your Matrox Axio
system with Adobe Premiere Pro.

Style conventions
The following style conventions are used in this manual:
• The names of files, directory paths, and manuals appear in italics. For
example:
$ The data is stored in the sample.wav file.
$ The file is located in your C:\Windows\System directory.
$ Please refer to your Matrox Axio Release Notes.
• Menus and commands that you need to choose are displayed in the form
Menu > Command . For example, File > Save means click File in the
menu bar, then click Save in the menu that appears.
• The names of keys are displayed in small capital bold letters, such as the
CTRL key.
• A plus (+) sign is used to indicate combinations of keys and/or mouse
operations. For example:
$ CTRL+C means to hold down the CTRL key while pressing the C key.
$ SHIFT+click means to hold down the SHIFT key while you click an item
with the mouse.

How video formats are expressed

With the exception of NTSC and PAL, all SD and HD video formats are
expressed in the Matrox Axio documentation and dialog boxes as follows:
VRp or i or PsF @ n fps
Where:
• VR is the vertical resolution. For 1440×1080 video, however, both the
horizontal and vertical resolutions are specified.
• p or i or PsF represents progressive, interlaced, or progressive segmented
frame video.
• @ n fps is the frame rate in frames per second.
Here are some examples:
• 486p @ 23.98 fps Represents 720×486 progressive video at 23.98 frames
per second.

Chapter 1, Introducing Matrox Axio

 5

• 720p @ 59.94 fps Represents 1280×720 progressive video at 59.94

frames per second.
• 1440x1080i @ 29.97 fps Represents 1440×1080 interlaced video at 29.97
frames per second. This format is used for HDV 1080i material.
• 1080i @ 29.97 fps Represents full-size 1920×1080 interlaced video at
29.97 frames per second.

Last-minute information
Any important information that wasn’t available for inclusion in this manual by
publication time is provided to you in the Matrox Axio Release Notes.

About this manual

6

Your notes

Chapter 1, Introducing Matrox Axio

 2
Installing Your Matrox Axio LE
Hardware
This chapter describes how to
install your Matrox Axio LE
card.
8

Before you install your Matrox Axio LE card

Read the following information carefully before attempting to install your
Matrox Axio LE card in your computer.

Start with a functioning system

Before attempting any Matrox Axio installation, you should have a computer
with an Axio-supported Windows operating system fully installed and
functioning smoothly. This will avoid potential problems later on.

Avoid costly damage

Static electricity from your body can damage your Matrox Axio LE card or your
computer. Although you may not notice it, static electricity is generated every
time you move. It’s often too small to cause a spark, but it can still cause damage
to sensitive electronic components or at least reduce their lifespan.
To avoid damage, please observe the following precautions:
• Do not remove your Matrox Axio LE card from its antistatic bag until you’re
ready to install it. Before removing the card, place the package within easy
reach of the area where you intend to perform the installation.
• You should avoid touching the chips and other components on the circuit
board. Try to handle the card by its edges.
• Try to work in an area where the relative humidity is at least 50%.
• Do not wear wool or synthetic clothing. These fabrics tend to generate more
static electricity than cotton, which is best for this kind of work.
• Turn off the power switches on your computer and its connected
components.
Once you’ve opened your computer, drain static electricity from your body by
touching a bare metal surface on your computer chassis before you install or
remove any parts of your system. If you have a grounding wrist strap, use it while
handling and installing any components in your computer.

Providing adequate ventilation

Before using your Matrox Axio system, you must ensure adequate ventilation in
your computer. Because your Matrox Axio LE card produces a significant
amount of heat, forced air ventilation is extremely important. Inadequate
ventilation may result in erratic operating behavior.
¦ Note Your Matrox Axio system is equipped with numerous temperature
sensors to let you monitor the operating temperature of your various Matrox Axio
hardware components. These temperatures are displayed in the Matrox X.info
program (see “Monitoring Your Matrox Axio System” on page 187 for more
information).

Chapter 2, Installing Your Matrox Axio LE Hardware

 9

To provide as much airflow as possible over the card, you must install a fan as
explained below:
• Position a fan directly facing the end of the Matrox Axio LE card with the
PCI retainer bracket. You should make sure the fan directs air over the card.
When installed, this fan works in conjunction with your PC exhaust fan to
blow warmed air away from your Axio LE card.

Airflow

• Choose a fan that has a minimum rating of 40 CFM (CFM stands for cubic
feet of air displaced per minute and is a measurement standard for fans). An
example of a fan that meets this requirement well is the Sunon model
KD1208PTB1, which is a 12 VDC fan with a rating of 42.5 CFM.
• Make sure to mount the fan as close to the card as possible. In most systems,
you should be able to place the fan directly behind the card guide slots.
• Make sure to close your computer’s cover once you’ve finished installing
your hardware. This ensures that the airflow generated by the fan is directed
over the card.
²Caution Fan installation should be done by a qualified technician. Improper
installation procedures can result in damage to your Axio LE components and/or
your computer system. Matrox Electronic Systems Ltd. is not responsible for any
damage caused by faulty installation.

Before you install your Matrox Axio LE card

10

Format your A/V drives using NTFS

Your A/V drives must be formatted using NTFS for use with Matrox Axio
because NTFS overcomes FAT32 file size limitations. When a hard drive is
formatted using FAT32, files saved to this drive cannot exceed 4 gigabytes in
size. This translates to approximately 20 minutes of DV/DVCAM video, which
poses a serious limitation to a nonlinear editing platform like your Matrox Axio
system.
With NTFS, you also have the option of creating a striped volume, which consists
of multiple hard drives formatted as a single partition. This allows you to work
with multiple drives as a single large drive, which offers more disk space and
enhances hard drive performance. NTFS also provides better audio and video
synchronization than FAT32 when you play back your clips.
If you already have Windows installed on your computer, you can check the
format of your drives. In Windows Explorer, right-click the drive letter (such as
D:), then choose Properties. Under General, check the format of your drive
next to File system.
If you need to format a drive using NTFS, right-click Computer, then choose
Manage . Under Computer Management > Storage, select Disk
Management. In the Disk Management utility, right-click the appropriate
drive and choose Format. In the provided dialog box, specify a volume label for
the partition you are creating. From the File System list, select NTFS. Leave the
Allocation unit size at Default. Do not select the Enable file and folder
compression option. If you are formatting the drive for the first time, do not
select the Perform a quick format option either.
¡ Important All information on the designated drive will be lost.
For more information on how to format your storage devices using NTFS, see
your Windows documentation.
Disk defragmentation
It’s important to make sure that your storage does not become too fragmented.
Overly fragmented drives will lead to a major reduction in your system’s
performance, which will in turn seriously reduce Matrox Axio’s ability to work
properly.
¡ Important To ensure that your storage is operating at optimal levels,
defragment your hard drives regularly (daily or several times a week).
For information on how to defragment your storage devices, see your Windows
documentation.

Chapter 2, Installing Your Matrox Axio LE Hardware

 11

About the PCI retainer bracket

Many computers contain card guides at the front end of the computer chassis.
These help to stabilize cards. If your Axio LE card is equipped with a PCI
retainer bracket, the following diagram depicts the retainer bracket’s use:

Axio LE card

PCI retainer
bracket Card guide

Removing the PCI retainer bracket

With some computer models, you may have to remove the PCI retainer bracket.
In such a case, once you’ve drained static electricity from your body and removed
the Axio LE card from its antistatic bag (see “Before you install your Matrox
Axio LE card” on page 8), simply remove the screws holding the bracket in place
and then carefully remove the bracket.

Before you install your Matrox Axio LE card

12

Connect the internal power supply cable to your

Axio LE PCIe card
The PCIe version of the Axio LE card requires power from your computer’s
internal power supply. An internal power supply cable is provided to connect
your Axio LE card to your computer’s internal power supply.

Attach the female end of

your internal power supply Internal power
cable to the male connector supply connector
on your Axio LE card.

Chapter 2, Installing Your Matrox Axio LE Hardware

 13

Connect the internal analog audio cable to your

Axio LE card
The Axio LE card includes an internal analog audio cable with an attached audio
cable bracket that allows you to connect the balanced analog audio (XLR) cable
at the back of your X.linkLE breakout box to your Axio LE card.
²Caution The internal audio cable connector and the corresponding connector
on your Axio LE card are designed to fit together such that the tabs on the cable
connector line up with the slots in the card connector. Don’t try to force the audio
cable connector the wrong way. Doing so can cause permanent damage by bending
the pins on the Axio LE card connector.

Connect the internal audio

cable from the audio cable
bracket to the corresponding
connector located near the
middle of your Axio LE card.

Align tabs on audio cable

connector with slots in Axio
LE card connector

Internal audio cable

Audio cable bracket

Axio LE card

Before you install your Matrox Axio LE card

14

Install your Matrox Axio LE card

Your Matrox Axio LE card is designed to operate in either a PCIe or PCI-X slot,
depending on which type of Axio LE card you have. The PCIe version requires a
PCIe x4 (or greater) slot that is electrically wired with at least four lanes. For
both versions of Axio LE, you need an additional PCI slot near the Axio LE card
to install the analog audio cable bracket. If any of the two slots in which you’ll be
installing your Axio LE card and analog audio cable bracket contain other cards,
either move them to unused slots or remove them completely.
° To install your Axio LE card:
1 Make sure the internal power supply cable is connected to your Axio LE
card (PCIe version), as explained in “Connect the internal power supply
cable to your Axio LE PCIe card” on page 12.
2 Make sure the internal analog audio cable is connected between the Axio LE
card and the audio cable bracket as explained in “Connect the internal analog
audio cable to your Axio LE card” on page 13.
3 Remove the metal plates located at the back of the two slots you’ll be using
for your Axio LE card and the audio cable bracket. Save the screws for the
mounting brackets.
4 Position your Axio LE card and audio cable bracket over the two slots that
you’ve chosen and push them in firmly and evenly until they are fully seated
in the slots.
5 Connect the male end of the internal power supply cable on your Axio LE
card (PCIe version) to a free power outlet of your computer’s internal power
supply.
6 Using the fasten screws you removed in step 3, secure your Axio LE card
and audio cable bracket to the computer frame.
7 Using the four small screws provided with your Axio LE audio cable
bracket, secure the two ends of the audio cable bracket to the computer
frame.
8 Replace your computer’s cover.

Before restarting your computer

You must connect your external devices such as X.linkLE breakout box, VTRs,
etc., before attempting to restart your computer. For details about these tasks, see
Chapter 3, “Connecting External Devices to Matrox Axio LE.”

Chapter 2, Installing Your Matrox Axio LE Hardware

 3
Connecting External Devices to Matrox
Axio LE
This chapter shows you how to
connect external devices to
Matrox Axio LE.
16

X.linkLE breakout box connections

The X.linkLE breakout box provides you with the maximum flexibility possible
for connecting external video and audio devices to your Matrox Axio LE system.
Cables are provided for connecting the X.linkLE breakout box to your Axio LE
card and balanced analog audio cable bracket, and a 1394 cable is included with
your Axio LE kit to connect X.linkLE to your computer. S-Video adapter cables
are also provided for connecting S-Video devices.

X.linkLE video connections

• One 4:2:2 SDI input/output with embedded audio support.
• Second 4:2:2 SDI output (SD-SDI video only).
• One analog component input, or one S-Video input, or one composite input.
• One analog component output and one composite output, or one S-Video
output and two composite outputs.
¦ Note Composite output cannot be used when outputting HD analog
component video.
• IEEE-1394 interface.
• Analog black burst reference input.

X.linkLE audio connections

• Two balanced analog XLR inputs.
• Six balanced analog XLR outputs.
• One unbalanced AES/EBU stereo input.
• Three unbalanced AES/EBU stereo outputs.
• One unbalanced analog RCA stereo output for preview.

Chapter 3, Connecting External Devices to Matrox Axio LE

 17

Attaching the rubber feet to X.linkLE

You can use the adhesive rubber feet provided with the X.linkLE breakout box if
you’d like to mount the breakout box on your desktop. To do this, peel the rubber
feet from their adhesive backing sheet and attach them to the corresponding
round indentations at the corners on the bottom of the breakout box.

Adhesive rubber foot (x4)

dio 13
g Au

X.linkLE breakout box (partial view)

¦ Note If you later choose to mount your X.linkLE breakout box to a standard
19” rack using the rackmount brackets as explained in the following section, the
breakout box may not fit in the rack unless you remove the adhesive rubber feet.

Attaching the rackmount brackets to X.linkLE

You can use the supplied rackmount brackets to mount your X.linkLE breakout
box to a standard 19” rack.
1 Unpack the two rackmount brackets and their eight mounting screws.
²Caution Use only the screws supplied with your Matrox Axio LE kit to
attach the rackmount brackets to your X.linkLE breakout box. If you use
screws that are larger or longer than the ones supplied, you can damage your
equipment.
2 With the rackmount brackets positioned so that the bracket face is towards
the front of the X.linkLE breakout box, align the screw holes on each

Attaching the rubber feet to X.linkLE

18

rackmount bracket with their respective screw holes on either end of the
X.linkLE breakout box.
X.linkLE breakout box (partial view)

ANAL
OG

CVBS
IN 1 IN Pb/Y IN
IN 2 Pr/C IN
OUT 1 ANAL
OG IN
OUT 2
VIDEO

Rackmount
SDI
Y/CVB
S OUT
Pb/Y OU

bracket T Pr/C
OU T CV
BS OUT
OUT 1
REF IN
OUT 2
1394
75 OH
M

Rackmount bracket

3 Using a hand screwdriver only (no power screwdrivers), carefully tighten

each screw until snug. Do not overtighten!

Chapter 3, Connecting External Devices to Matrox Axio LE

 19

Connect your X.linkLE audio/video and SDI

cables to the Axio LE card
1 Connect the X.linkLE audio/video cable from the back of the X.linkLE
breakout box to the X.linkLE audio/video cable connector (labeled B) on
your installed Axio LE card. Tighten the thumb screws until snug to ensure a
stable connection.

Back of X.linkLE breakout box (partial view)

Axio LE audio/video
cable connector (B)
X.linkLE audio/video cable

B
SDI OUT A
OUT A
Axio LE
SDI OUT B SDI
OUT B
connectors
SDI IN
IN

X.linkLE SDI cable

Axio LE card bracket
2 Connect the X.linkLE SDI cable from the back of the X.linkLE breakout box
to the respective SDI connectors (labeled OUT A, OUT B, and IN) on your
installed Axio LE card.
²Caution Use extra care when attaching the cables to their respective
connectors (bent pins can cause your Matrox Axio LE system to not perform
properly). Also, do not bend the attached cables too sharply. Excessive
bending or flexing can damage internal, shielded wires.

Connect your X.linkLE audio/video and SDI cables to the Axio LE card
20

Connect your X.linkLE balanced analog audio

cable to the audio cable bracket
1 Connect one end of the X.linkLE balanced analog audio cable to the Analog
Audio connector at the back of your X.linkLE breakout box. Tighten the
thumb screws until snug to ensure a stable connection.

Analog Audio Back of X.linkLE breakout

box (partial view)

Axio LE balanced analog

audio cable connector (A)

X.linkLE balanced analog A

audio cable

Axio LE audio cable

bracket

2 Attach the opposite end of the X.linkLE balanced analog audio cable to the
balanced analog audio cable connector (labeled A) on your installed Axio
LE audio cable bracket. Tighten the thumb screws until snug to ensure a
stable connection.
²Caution Use extra care when attaching the cable to its respective connector
(bent pins can cause your Matrox Axio LE system to not perform properly).
Also, do not bend the attached cable too sharply. Excessive bending or flexing
can damage internal, shielded wires.

Chapter 3, Connecting External Devices to Matrox Axio LE

 21

Connect your X.linkLE 1394 cable to your

computer
1 Connect one end of the X.linkLE 1394 cable to the 1394 connector at the
back of your X.linkLE breakout box.
Back of X.linkLE
1394
Analog Audio
breakout box
(partial view)

1394 cable connector

bracket on your computer

1394

X.linkLE 1394 cable

2 Attach the opposite end of the X.linkLE 1394 cable to the 1394 connector on
your computer.

Using the X.linkLE S-Video adapter cables

To support S-Video (Y/C) connections to your X.linkLE breakout box, your Axio
LE kit includes two S-Video adapter cables (one for S-Video input and one for
S-Video output).
¦ Note When you connect an S-Video device to the X.linkLE breakout box, you
won’t be able to connect an analog component device at the same time.
1 For S-Video input, connect the S-Video adapter cable labeled Y to the Pb/Y
IN connector, and connect the S-Video adapter cable labeled C to the Pr/C
IN connector, at the front of the X.linkLE breakout box.
2 Connect the other end of the cable to the S-Video OUT connector on your
source device.

Connect your X.linkLE 1394 cable to your computer

22

To S-Video OUT connector

on source device

X.linkLE S-Video adapter cable

C

X.linkLE breakout
box (partial view)

IN 1/2 Y/CVBS IN Pb/Y IN Pr/C IN IN

DIGITAL AUDIO ANALOG SDI
AES/EBU VIDEO

REF IN

OUT 1/2 OUT 3/4 OUT 5/6 Y/CVBS OUT Pb/Y OUT Pr/C OUT CVBS OUT OUT 1 OUT 2 1394 75 OHM

3 For S-Video output, connect the S-Video adapter cable labeled Y to the Pb/Y
OUT connector, and connect the S-Video adapter cable labeled C to the Pr/C
OUT connector, at the front of the X.linkLE breakout box.
4 Connect the other end of the cable to the S-Video IN connector on your
record device.
IN 1/2 Y/CVBS IN Pb/Y IN Pr/C IN IN
DIGITAL AUDIO ANALOG SDI
AES/EBU VIDEO

REF IN

OUT 1/2 OUT 3/4 OUT 5/6 Y/CVBS OUT Pb/Y OUT Pr/C OUT CVBS OUT OUT 1 OUT 2 1394 75 OHM

X.linkLE breakout
box (partial view)
Y

X.linkLE S-Video adapter cable

To S-Video IN connector
on record device

Chapter 3, Connecting External Devices to Matrox Axio LE

 23

Typical Matrox Axio LE connections

Illustrations in the following sections show some typical video connections. In
these illustrations, we’ve connected a Program monitor (NTSC, PAL, or digital)
to view the signal that will be recorded, as well as separate source and record
decks. You may, however, use the same deck as both your source and record
device by making the input and output connections to a single deck.

X.linkLE analog component connections

External
Source AUDIO COMPONENT sync
(Deck 1) IN
VIDEO source
IN
SYNC
ON OUT
Y 75 Ω SYNC
B-Y R-Y
OFF

OUT
OUT

ANALOG AUDIO IN 1/2 Y/CVBS IN Pb/Y IN Pr/C IN IN

AUDIO DIGITAL AUDIO ANALOG SDI
PREVIEW AES/EBU VIDEO

REF IN

IN 1 IN 2 OUT 1 OUT 2 OUT 3 OUT 4 OUT 5 OUT 6

OUT 1/2 OUT 3/4 OUT 5/6 Y/CVBS OUT Pb/Y OUT Pr/C OUT CVBS OUT OUT 1 OUT 2 1394 75 OHM

Recorder AUDIO COMPONENT

(Deck 2) IN
VIDEO
IN

ON
Y B-Y R-Y 75 Ω SYNC
OFF

Program OUT
OUT
monitor
input
VIDEO
IN

Typical Matrox Axio LE connections

24

X.linkLE S-Video connections

The X.linkLE breakout box does not have standard S-Video connectors, however
you can still connect S-Video devices to your X.linkLE breakout box by using the
two supplied X.linkLE S-Video adapter cables (see “Using the X.linkLE S-Video
adapter cables” on page 21 for more information).

External
sync
Source AUDIO S-VIDEO source
(Deck 1)
SYNC
ON OUT

IN
75 Ω SYNC
IN
OFF

OUT
OUT

X.linkLE S-Video adapter

cable
C

ANALOG AUDIO IN 1/2 Y/CVBS IN Pb/Y IN Pr/C IN IN

AUDIO DIGITAL AUDIO ANALOG SDI
PREVIEW AES/EBU VIDEO

REF IN

IN 1 IN 2 OUT 1 OUT 2 OUT 3 OUT 4 OUT 5 OUT 6

OUT 1/2 OUT 3/4 OUT 5/6 Y/CVBS OUT Pb/Y OUT Pr/C OUT CVBS OUT OUT 1 OUT 2 1394 75 OHM

Recorder AUDIO S-VIDEO

(Deck 2)
ON
IN
75 Ω SYNC
IN
OFF

OUT
OUT

Program
monitor
input
VIDEO
IN

Chapter 3, Connecting External Devices to Matrox Axio LE

 25

X.linkLE digital video connections

External
sync
source
SYNC OUT
OUT ON IN
AES/EBU
SYNC 75 Ω SDI AUDIO R
IN1/2 OUT1/2

OFF
OUT AUDIO L

VIDEO
Source
DV-1394
(Deck 1) S-VIDEO

DV-1394 device

ANALOG AUDIO IN 1/2 Y/CVBS IN Pb/Y IN Pr/C IN IN

AUDIO DIGITAL AUDIO ANALOG SDI
PREVIEW AES/EBU VIDEO

REF IN

IN 1 IN 2 OUT 1 OUT 2 OUT 3 OUT 4 OUT 5 OUT 6

OUT 1/2 OUT 3/4 OUT 5/6 Y/CVBS OUT Pb/Y OUT Pr/C OUT CVBS OUT OUT 1 OUT 2 1394 75 OHM

Recorder Program
(Deck 2) monitor input
Y/G B-Y/B R-Y/R Y/G B-Y/B R-Y/R
ON IN
AES/EBU
SYNC 75 Ω SDI
IN1/2 OUT1/2

OFF
OUT
SDI SDI
IN IN

Program
monitor input

Typical Matrox Axio LE connections

26

Your notes

Chapter 3, Connecting External Devices to Matrox Axio LE

 4
Installing Your Matrox Axio HD or SD
Hardware
This chapter describes how to
install your Matrox X.io card for
a Matrox Axio HD or SD
system.
28

Before you install your Matrox X.io card

Read the following information carefully before attempting to install your
Matrox X.io card in your computer.

Start with a functioning system

Before attempting any Matrox Axio installation, you should have a computer
with an Axio-supported Windows operating system fully installed and
functioning smoothly. This will avoid potential problems later on.

Avoid costly damage

Static electricity from your body can damage your Matrox X.io card or your
computer. Although you may not notice it, static electricity is generated every
time you move. It’s often too small to cause a spark, but it can still cause damage
to sensitive electronic components or at least reduce their lifespan.
To avoid damage, please observe the following precautions:
• Do not remove your Matrox X.io card from its antistatic bag until you’re
ready to install it. Before removing the card, place the packages within easy
reach of the area where you intend to perform the installation.
• You should avoid touching the chips and other components on the circuit
board. Try to handle the card by its edges.
• Try to work in an area where the relative humidity is at least 50%.
• Do not wear wool or synthetic clothing. These fabrics tend to generate more
static electricity than cotton, which is best for this kind of work.
• Turn off the power switches on your computer and its connected
components.
Once you’ve opened your computer, drain static electricity from your body by
touching a bare metal surface on your computer chassis before you install or
remove any parts of your system. If you have a grounding wrist strap, use it while
handling and installing any components in your computer.

Providing adequate ventilation

Before using your Matrox Axio system, you must ensure adequate ventilation in
your computer. Because your Matrox X.io card produces a significant amount of
heat, forced air ventilation is extremely important. Inadequate ventilation may
result in erratic operating behavior.
¦ Note Your Matrox Axio system is equipped with numerous temperature
sensors to let you monitor the operating temperature of your various Matrox Axio
hardware components. These temperatures are displayed in the Matrox X.info
program (see “Monitoring Your Matrox Axio System” on page 187 for more
information).

Chapter 4, Installing Your Matrox Axio HD or SD Hardware

 29

To provide as much airflow as possible over the card, you must install a fan as
explained below:
• Position a fan directly facing the end of the Matrox X.io card with the PCI
retainer bracket. You should make sure the fan directs air over the card.
When installed, this fan works in conjunction with your PC exhaust fan to
blow warmed air away from your X.io card.

• Choose a fan that has a minimum rating of 40 CFM (CFM stands for cubic
feet of air displaced per minute and is a measurement standard for fans). An
example of a fan that meets this requirement well is the Sunon model
KD1208PTB1, which is a 12 VDC fan with a rating of 42.5 CFM.
• Make sure to mount the fan as close to the card as possible. In most systems,
you should be able to place the fan directly behind the card guide slots.
• Make sure to close your computer’s cover once you’ve finished installing
your hardware. This ensures that the airflow generated by the fan is directed
over the card.
²Caution Fan installation should be done by a qualified technician. Improper
installation procedures can result in damage to your Axio components and/or your
computer system. Matrox Electronic Systems Ltd. is not responsible for any
damage caused by faulty installation.

Before you install your Matrox X.io card

30

Format your A/V drives using NTFS

Your A/V drives must be formatted using NTFS for use with Matrox Axio
because NTFS overcomes FAT32 file size limitations. When a hard drive is
formatted using FAT32, files saved to this drive cannot exceed 4 gigabytes in
size. This translates to approximately 20 minutes of DV/DVCAM video, which
poses a serious limitation to a nonlinear editing platform like your Matrox Axio
system.
With NTFS, you also have the option of creating a striped volume, which consists
of multiple hard drives formatted as a single partition. This allows you to work
with multiple drives as a single large drive, which offers more disk space and
enhances hard drive performance. NTFS also provides better audio and video
synchronization than FAT32 when you play back your clips.
If you already have Windows installed on your computer, you can check the
format of your drives. In Windows Explorer, right-click the drive letter (such as
D:), then choose Properties. Under General, check the format of your drive
next to File system.
If you need to format a drive using NTFS, right-click Computer, then choose
Manage . Under Computer Management > Storage, select Disk
Management. In the Disk Management utility, right-click the appropriate
drive and choose Format. In the provided dialog box, specify a volume label for
the partition you are creating. From the File System list, select NTFS. Leave the
Allocation unit size at Default. Do not select the Enable file and folder
compression option. If you are formatting the drive for the first time, do not
select the Perform a quick format option either.
¡ Important All information on the designated drive will be lost.
For more information on how to format your storage devices using NTFS, see
your Windows documentation.
Disk defragmentation
It’s important to make sure that your storage does not become too fragmented.
Overly fragmented drives will lead to a major reduction in your system’s
performance, which will in turn seriously reduce Matrox Axio’s ability to work
properly.
¡ Important To ensure that your storage is operating at optimal levels,
defragment your hard drives regularly (daily or several times a week).
For information on how to defragment your storage devices, see your Windows
documentation.

Chapter 4, Installing Your Matrox Axio HD or SD Hardware

 31

About the PCI retainer bracket

Many computers contain card guides at the front end of the computer chassis.
These help to stabilize cards. Since PCI-X cards are neither long enough nor
correctly centered to use these guides, the X.io card is equipped with a PCI
retainer bracket. The following diagram depicts the retainer bracket’s use:

Axio card

PCI retainer
bracket Card guide

Removing the PCI retainer bracket

With some computer models, you may have to remove the PCI retainer bracket.
In such a case, once you’ve drained static electricity from your body and removed
the X.io card from its antistatic bag (see “Before you install your Matrox X.io
card” on page 28), simply remove the screws holding the bracket in place and
then carefully remove the bracket.

Before you install your Matrox X.io card

32

Connect the internal power supply cable to your

X.io card
Your X.io card requires power from your computer’s internal power supply. An
internal power supply cable is provided with Matrox Axio to connect your X.io
card to your computer’s internal power supply.

Attach the small end of your

internal power supply cable to
Internal
the 8-pin male connector power
located near the rear of your supply
X.io card. cable

LED display

X.io card
X.link breakout box
connector

¦ Note The connector located between the X.link breakout box connector and
the LED display on your X.io card is not used.
When you’ve completed the installation of your X.io card and turned on your
computer, an LED display on the backplate of your X.io card will light up,
indicating that the internal power supply is properly connected.

Install your Matrox X.io card

Your Matrox X.io card is designed to operate in your computer’s PCI-X slot. If
the slot in which you’ll be installing your X.io card contains another card, either
move it to an unused slot or remove it completely. If you want to use a 133-MHz
slot, then you must configure the slot to run at 100 MHz in the computer’s BIOS,
or using a jumper on the computer’s motherboard. For details about configuring
your computer’s PCI-X slots, see your computer’s documentation.
To determine the particular slot in which you should install your X.io card for
recommended systems and motherboards, contact your Matrox Axio dealer.

Chapter 4, Installing Your Matrox Axio HD or SD Hardware

 33

¡ Important Any components that you have installed in your computer’s PCI-X
slots must operate at 100 MHz or faster. Otherwise, these components might
hinder the performance of your X.io card.
° To install your X.io card:
1 Make sure the internal power supply connector is connected to your X.io
card as explained in “Connect the internal power supply cable to your X.io
card” on page 32.
2 Remove the metal plate located at the back of the slot you’ll be using. Save
the screw for the mounting bracket.
3 Position your X.io card over the slot that you’ve chosen and push the card
firmly and evenly until it’s fully seated in the slot.
4 Using the fasten screw, secure your X.io card’s bracket to the computer
frame.
5 Connect the male end of the internal power supply cable to a free power
outlet of your computer’s internal power supply.
¡ Important Make sure that no other devices are sharing this power outlet.
6 Replace your computer’s cover.

When you’ve completed the installation of your Axio hardware and turned on
your computer, an LED display on the backplate of your X.io card will light up,
indicating that the internal power supply is properly connected.

Before restarting your computer

You must connect your external devices such as X.link breakout box, VTRs, etc.,
before attempting to restart your computer. For details about these tasks, see
Chapter 5, “Connecting External Devices to Matrox Axio HD and SD.”

Before restarting your computer

34

Your notes

Chapter 4, Installing Your Matrox Axio HD or SD Hardware

 5
Connecting External Devices to Matrox
Axio HD and SD
This chapter shows you how to
connect external devices to
Matrox Axio HD and SD.
36

X.linkHD and X.linkSD breakout box

connections
The X.linkHD and X.linkSD breakout boxes provide you with flexibility for
connecting external video and audio devices to your Matrox Axio system. The
supplied X.link cable is used to connect your X.link breakout box to your X.io
card.

X.linkHD video connections

• One 10-bit 4:2:2 SDI input/output with embedded audio support.
• Analog black burst reference input.
• Analog component or RGB preview output.

X.linkHD audio connections

• Two balanced AES/EBU stereo inputs.
• Four balanced AES/EBU stereo outputs.
• Two balanced analog XLR outputs for monitoring purposes.

X.linkSD video connections

• One analog component input/output.
• One composite video input/output.
• One S-Video input/output.
• One 10-bit 4:2:2 SDI input/output with embedded audio support.
• Analog black burst reference input.

X.linkSD audio connections

• Two balanced analog XLR inputs/outputs.
• Two unbalanced analog RCA inputs/outputs.

Prepare for mounting

You have three choices for mounting your X.link breakout box. You can use the
desktop foot or the desktop pedestal to mount your breakout box on your
desktop. You can also use the supplied rackmount brackets to mount your
breakout box to a standard 19” rack.

Chapter 5, Connecting External Devices to Matrox Axio HD and SD

 37

Using the desktop foot

Desktop foot

You can use the desktop foot to lay your X.link breakout box flush on your
desktop with its audio/video connections facing up. To use the desktop foot, pull
the foot out from the back of your breakout box and place the breakout box flush
on your desktop.

Attaching the desktop pedestal

Desktop
pedestal

1 Unpack the desktop pedestal.

2 Line up the pedestal guide tabs with the guide slots on the bottom of your
X.link breakout box.
3 Line up the thumb screw on the pedestal with the threaded hole on the X.link
breakout box, and carefully tighten the thumb screw until snug. Do not
overtighten!
¦ Note To remove the desktop pedestal from the breakout box, unscrew the
thumb screw on the pedestal and lift up the breakout box.

Prepare for mounting

38

Attaching the rackmount brackets

Left rackmount bracket Right rackmount bracket

1 Unpack the two rackmount brackets and their four mounting screws.
²Caution Use only the screws supplied with your Matrox Axio kit to attach
the rackmount brackets to your X.link breakout box. If you use screws that
are larger or longer than the ones supplied, you can damage your equipment.
2 Use the guide tabs on the bracket to help line up each bracket with its
respective screw holes on the back of the breakout box.
¦ Note Be aware that the mounting brackets are different. The left bracket is
wider than the right bracket in order to accommodate the width of the left side
of the breakout box.
3 Using a hand screwdriver only (no power screwdrivers), carefully tighten
each screw until snug. Do not overtighten!

Attach the ferrite beads to the X.link cable

The ferrite beads prevent electromagnetic interference from other electronic
devices.
1 Position an open ferrite bead no more than 1” from one end of the X.link
cable.

2 Snap the ferrite bead shut, enclosing the cable within.

Chapter 5, Connecting External Devices to Matrox Axio HD and SD

 39

3 Repeat steps 1 and 2 with the second ferrite bead at the opposite end of the
X.link cable.

Connect your X.link breakout box to your

computer
1 Connect one end of the X.link cable to the X.link connector on the backside
of your X.link breakout box. Tighten the thumb screws until snug to ensure a
stable connection.
X.link cable
X.link cable connector

2 Attach the opposite end of the X.link cable to the bracket connector on the
backplate of your installed X.io card.

X.link cable X.io card

²Caution Use extra care when attaching the X.link connectors (bent pins can
cause your Matrox Axio system to not perform properly). Also, do not bend
the attached cable too sharply. Excessive bending or flexing can damage
internal, shielded wires.

Connect your X.link breakout box to your computer

40

Typical Matrox Axio HD and SD connections

Illustrations in the following sections show some typical video connections. In
these illustrations, we’ve connected a Program monitor (NTSC, PAL, or digital)
to view the signal that will be recorded, as well as separate source and record
decks. You may, however, use the same deck as both your source and record
device by making the input and output connections to a single deck.

X.linkHD digital video connections

Chapter 5, Connecting External Devices to Matrox Axio HD and SD

 41

X.linkSD analog component connections

Typical Matrox Axio HD and SD connections

42

X.linkSD S-Video connections

Chapter 5, Connecting External Devices to Matrox Axio HD and SD

 43

X.linkSD digital video connections

Typical Matrox Axio HD and SD connections

44

Your notes

Chapter 5, Connecting External Devices to Matrox Axio HD and SD

 6
Installing Your Matrox Axio Software
This chapter explains how to
install the software required to
use your Matrox Axio system.
46

Overview of the software installation

Once you’ve installed your Matrox Axio hardware and properly connected your
devices, you can proceed with the software installation. This includes installing
your third-party software and Matrox Mtx.utils. Matrox Mtx.utils installs the
Axio device drivers, and all the software required to use Axio with supported
programs, such as the Matrox realtime plug-in for Adobe Premiere Pro.

Hardware detection
When you turn on your computer after installing your Matrox Axio hardware,
Windows will detect your new hardware. If the “Found New Hardware Wizard”
appears, press ESC or click Cancel to close the wizard because the Matrox
Mtx.utils Setup program will automatically detect your devices and install the
appropriate drivers.

Installing Matrox Mtx.utils

Before installing Matrox Mtx.utils, you should install all third-party software that
you want to use with Matrox Axio. This includes your Adobe software (Adobe
Premiere Pro, Media Encoder, Encore, etc.), and any other third-party programs
for which you want to install the Matrox WYSIWYG plug-ins. For a list of
supported programs, see Chapter 10, “Using the Matrox WYSIWYG Plug-ins.”
You can download and install the latest version of Matrox Mtx.utils from the
Matrox Axio Support section of our website at www.matrox.com/video/support.
You can also contact your Matrox representative for the latest software.
¦ Note Matrox Mtx.utils Setup installs software for Matrox Axio as well as the
Matrox CompressHD card. You can therefore use your Matrox Axio hardware
with CompressHD. For details on using CompressHD, see your Matrox
CompressHD Installation and User Guide.

Updating your Axio firmware

When you install Matrox Mtx.utils on a computer with Axio hardware, the
Mtx.utils Setup program automatically verifies the firmware on your Axio
hardware and updates it if required.
²Caution Do not interrupt the firmware update during the update process. Doing
so may damage your Axio hardware.

Chapter 6, Installing Your Matrox Axio Software

 47

Installing the Matrox effect patterns

The Matrox plug-in for Adobe Premiere Pro includes Matrox wipes that you can
apply to clips in your Matrox projects as explained in Chapter 8, “Setting Up
Realtime Effects with Adobe Premiere Pro.” In order to apply the Matrox wipes,
you must install Matrox Mtx.utils as well as the Matrox effect patterns (GFX)
files. The Matrox effect patterns are available for download with the Matrox
Mtx.utils software in the Axio Support section of our website at
www.matrox.com/video/support.

Installing additional Matrox WYSIWYG plug-ins

or removing unneeded plug-ins
When you install Matrox Mtx.utils, you are prompted to install the Matrox
WYSIWYG plug-ins for any supported programs that are currently installed on
your system. If after you’ve installed Matrox Mtx.utils you want to install
additional Matrox WYSIWYG plug-ins, or re-install or remove a currently
installed plug-in, you can update your system by choosing Start > All
Programs > Matrox Mtx.utils > Update Matrox WYSIWYG Plug-ins.
You’ll be prompted to specify which plug-ins you want to install, re-install, or
remove. For more information about the programs supported and required
settings, see Chapter 10, “Using the Matrox WYSIWYG Plug-ins.”
¦ Note To install the Matrox WYSIWYG plug-in for a program, you must first
install that program.

Installing the Matrox VFW software codecs on

a system without the Axio hardware
The Matrox Video for Windows (VFW) software codecs let you render and play
back Matrox .avi files in your VFW programs without having to install Matrox
Mtx.utils and the Matrox Axio hardware. This flexibility allows you to use a
remote editing workstation to create a rough cut of your project, and then copy
the project and assets to your Axio system to finish the job.
¦ Note If you’ve installed Matrox Mtx.utils, you do not need to install the
Matrox VFW software codecs because Matrox Mtx.utils installs all the Matrox
codecs on your system.
The Matrox VFW software codecs are available for download in the
“Downloads” section of the Matrox Support website at
www.matrox.com/video/support.

Installing the Matrox effect patterns

48

Updating drivers for using DV-1394 devices

To avoid capture or export to tape issues when using DV-1394 devices with
Matrox Axio, make sure that all drivers on your system are up to date (card
drivers, chipset and BIOS drivers, etc.), and that you have the latest Windows
updates.
If you experience issues using DV-1394 devices on a Windows 7 system, you
must change the 1394 host controller driver on your system as follows:
1 In Control Panel, choose Hardware and Sound > Device Manager.
2 Double-click IEEE 1394 Bus host controllers.
3 Right-click the name of your 1394 host controller, and choose Update
Driver Software.
4 When prompted, select Browse my computer for driver software.
5 Selected Let me pick from a list of device drivers on my computer.
6 In the provided dialog box, make sure that Show compatible hardware is
selected, and from the list of available device drivers, select 1394 OHCI
Compliant Host Controller (Legacy).
7 Click Next to install the driver.

¡ Important On a Windows 7 system, make sure that your DV-1394 device is

turned off when you connect it to your system, and turn the device on only after
Windows has started.

Note about using sleep and hibernation modes

with Matrox Axio
Before setting your computer to sleep or hibernation mode, make sure that you
first quit any application that is using your Matrox Axio hardware, such as Adobe
Premiere Pro. As well, never disconnect or remove your Matrox Axio hardware
when your computer is in sleep or hibernation mode (always shut down your
computer first).

Setting Matrox Axio as your default audio

playback device
You can use Matrox Axio as your output device for playing back audio using
Windows Driver Model (WDM)-based applications on your Windows system,
such as Windows Media Player and Adobe Soundbooth. To set your X.link
breakout box as your default sound playback device in Windows, do the
following:

Chapter 6, Installing Your Matrox Axio Software

 49

• For Axio LE, choose Start > Control Panel > Hardware and Sound >
Sound , and click the Playback tab. Right-click Matrox WDM audio
device LE, and click Set as Default Device.
• For Axio HD and SD, choose Start > Control Panel > Hardware and
Sound > Sound, and click the Playback tab. Right-click one of the
available Matrox WDM audio device options, and click Set as Default
Device . If you do not hear audio from your breakout box when using your
audio application, try setting another Matrox WDM audio device as the
default device.

Removing your Matrox Axio software

You can remove the various Matrox Axio software components as follows:
• To remove Matrox Mtx.utils from your computer, choose Start > All
Programs > Matrox Mtx.utils > Uninstall Matrox Mtx.utils.
• To remove the Matrox effect patterns from your computer, choose Start >
All Programs > Matrox Effect Patterns > Uninstall Matrox Effect
Patterns.
• To remove the Matrox VFW software codecs from a computer without
Matrox Mtx.utils, choose Start > All Programs > Matrox VFW
Software Codecs > Uninstall Matrox VFW Software Codecs.

Removing your Matrox Axio software

50

Your notes

Chapter 6, Installing Your Matrox Axio Software

 7
Defining Your Adobe Premiere Pro
Settings
This chapter explains how to
define various settings for
using Matrox Axio with Adobe
Premiere Pro. This includes
creating a new Matrox project,
and specifying your sequence
and export settings.
52

Running antivirus software with Adobe

Premiere Pro
To avoid having dropped frames or other performance issues when working with
your Matrox project, make sure that you disable any antivirus scanning of files
while running Adobe Premiere Pro. If possible, schedule your antivirus scanning
at a time when you’re not using Premiere Pro, such as overnight or on the
weekend.

Creating a new Matrox project

Creating a new Matrox project involves specifying the location of your scratch
disks and selecting a Matrox sequence preset. For more information about using
the Matrox sequence presets for working with different types of sequences, see
Appendix B, “Matrox Axio Workflows.”
° To create a new Matrox project:
1 Start Adobe Premiere Pro and click the New Project icon. The New
Project dialog box appears. You can leave all the settings on the General
page at the default settings. For details on changing these settings, see your
Adobe Premiere Pro documentation.
2 Click the Scratch Disks tab, and use the Browse button to select an
appropriate A/V drive for each scratch disk type. When specifying the
location of your scratch disks, make sure you follow the recommendations in
your Adobe Premiere Pro documentation. For example, store your video and
audio files on a separate hard drive dedicated to your media assets.
¥ Tip Specifying the same scratch disk settings for all your projects will help
shorten the amount of time it takes to open new or existing projects.
3 From the Location list, select where you want to save your project.
4 In the Name box, specify a name for your project.
5 Click OK to save your settings. The New Sequence dialog box opens on
the Sequence Presets page.
6 Under Available Presets, select the preset that matches the type of
sequence you want to create from the appropriate Matrox folder. For
example, if you want to create an NTSC sequence and work in a standard 4:3
editing environment, expand the 720× 486 and NTSC folders under
Matrox - SD , then select the Standard preset.
¦ Note To work with PAL DV clips, make sure that you select a Matrox
DV-PAL preset.
7 In the Sequence Name box, specify a name for your sequence.
8 Click OK to apply the settings.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 53

¦ Note If you want to export your sequence to a DV-1394 device other than
DVCPRO HD, you need to copy or import your Matrox sequence into a native
Adobe Premiere Pro sequence. For more details about exporting to tape, see
“Exporting your sequence to tape” on page 101.

Defining your player settings

By default, each monitor in Adobe Premiere Pro (Source Monitor, Program
Monitor, Trim Monitor, etc.) uses the Adobe Player to play material. However, in
order to also preview the video simultaneously on your video monitor when
working with Matrox Axio, your player settings need to be set to use the Matrox
Player. To do this, choose Edit > Preferences > Player Settings and choose
Matrox Player as the default player.
Remarks
• When using the Multi-Camera Monitor to preview a multi-camera sequence,
you can choose between single-camera preview (active camera only) and
quad-camera preview (all four camera previews) on your video monitor. For
single-camera preview, select Show Preview Monitor in the Multi-Camera
Monitor menu. For quad-camera preview, clear Show Preview Monitor.
• You can also use the Matrox Player to preview video played back from the
timeline on your video monitor when working in Adobe Encore. To set the
default project player to Matrox Player in Adobe Encore, go to the
Advanced page of the Project Settings dialog box.

Displaying warnings in Adobe Premiere Pro’s

Events panel
Matrox Axio uses Adobe Premiere Pro’s Events panel to issue certain error
messages and warnings. To display these, choose Window > Events. For more
information about using the Events panel, see your Adobe Premiere Pro
documentation.

A note about realtime playback capabilities

In most cases, Matrox clips and clips supported by Adobe Premiere Pro that
match the frame size and aspect ratio of your sequence will play back in real
time. For example, an XDCAM EX or P2 720p @ 29.97 fps clip will be realtime
in any Matrox 720p sequence. You can also apply various realtime effects to your
clips as explained in Chapter 8, “Setting Up Realtime Effects with Adobe
Premiere Pro.”
When Premiere Pro requires clips to be rendered, a red render bar appears above
the clips on the timeline. After playing back your sequence, a red bar will appear
over any sections of the sequence that have dropped frames. To ensure that you

Defining your player settings

54

don’t have dropped frames when you export your sequence to tape, you should
play back your sequence and render all sections that have a red render bar before
performing your export.
Remarks
• For the best quality output when previewing a sequence that has an
interlaced video format, make sure that you choose Display Both Fields in
the Program Monitor menu.
• If you set the playback resolution in the Program Monitor to anything other
than full resolution, a yellow render bar may appear above realtime sections
of the timeline. However, these sections will still play back in real time.

Defining your sequence settings

The Matrox Playback Settings dialog box has several pages that you can use to
specify various settings for editing in Adobe Premiere Pro on Matrox Axio.
When you select a Matrox sequence preset, a Matrox editing mode is
automatically set for your sequence, and many settings are optimized for editing
on Matrox Axio.
¡ Important The general, audio output, and DV-1394 output settings in the
Matrox Playback Settings dialog box apply to your entire project. The video
output and genlock settings, however, are specific to your sequence. Any video
output settings you specify for a particular video format will be applied the next
time you create a new Matrox sequence in that same format. If you change any of
the video output settings, the new settings will be applied to all previously
created sequences that have that video format in your project. For example, if you
create a new NTSC sequence, the settings you apply for that new NTSC sequence
will also be applied to any previously created NTSC sequences in your project.

Specifying your general settings

To specify your general sequence settings on Matrox Axio:

Chapter 7, Defining Your Adobe Premiere Pro Settings

 55

1 Choose Sequence > Sequence Settings and click the Playback

Settings button.
2 Click the General tab.

3 Under Scrubbing Mode, select Frame, 1st Field, or 2nd Field to indicate
whether you want to display frames or only one field when you scrub a
sequence in the Timeline panel. For example, you may want to scrub the
first or second field to eliminate the flickering that can be seen in your
picture when you pause while scrubbing interlaced video. Scrubbing fields
can also be used to check for any dropped fields that may have occurred in
your video during a telecine process.
¦ Note The scrubbing mode will be set to Frame if you’re working with a
sequence that has a progressive video format.
4 Under Video Luma Level, select the type of processing that you want to be
applied to luminance levels in your video when rendering and previewing
video in a sequence:
$ Broadcast Processes video using the standard legal range of luminance
levels for broadcast video. Any super black or super white luminance
levels (that is, levels that fall below the standard black level or exceed the
standard white level) are clipped.
$ Post Production Processes video for post production. Any super black
or super white luminance levels in your video are retained.
5 Under Video Processing Format, select either 8-bit or 10-bit to indicate
the bit depth you want to use for processing video in a sequence. In some

Defining your sequence settings

56

cases, such as when the video output for an HD sequence is downconverted

to NTSC or PAL, the video processing format will be set to 8-bit.
¦ Note If you select a 10-bit video processing format and you also want your
previews to be rendered to 10-bit format, make sure that you configure the
Matrox uncompressed codec to 10-bit for your video previews as explained
in “Defining your video preview settings” on page 76.
6 Under Preroll/Postroll Frames for Audio Scrubbing, use the sliders to
specify the number of audio frames you want to be played before/after the
location of the current-time indicator when you scrub a sequence. This lets
you hear more audio to help you better identify sounds when scrubbing. For
example, if you set the number of preroll frames for audio scrubbing to 3,
you will hear the audio for the current frame and three previous frames when
you scrub a frame in a sequence.
¦ Note To return a slider to it’s default setting, click its D button. This button
is available for all sliders in the Matrox dialog boxes.
7 Under Error Reporting, select Report dropped frames or lost genlock
on playback if you want to be warned each time frames are dropped or the
genlock source signal is lost when you play back video from the Timeline
panel. Otherwise, clear this option.
¦ Note Once playback of the sequence has stopped, a red bar will appear over
segments of the sequence that have dropped frames, even if you don’t choose
to report dropped frames. To ensure that your sequence will play back without
dropped frames, you should render all sections identified with red bars as
explained in your Adobe Premiere Pro documentation.
8 Under Sequence Playback, indicate how you want your sequence to be
played back:
$ Postroll after stop Applies postroll when you stop playback of a
sequence. If you clear this option, the playback will stop at the
current-time indicator, and you’ll see a slight jump in the video output
when the playback stops (but the correct frame will be displayed).
$ Accelerate playback of non-realtime segments Improves playback
performance of non-realtime segments, such as Adobe native effects.
Clear this option only if you experience issues while playing back
non-realtime segments of a sequence.
9 Under Realtime Engine, you can select the options you want for using
Matrox RT technology:
$ Enable Matrox RT technology Select this to enable Matrox RT
technology, which provides realtime Matrox effects and acceleration of
many Premiere Pro effects. You can clear this option if you want the
realtime performance of your project to depend only on the capabilities of
Premiere Pro and your computer system.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 57

$ Premiere Pro Accelerated Effects Select the options you want for
your realtime/accelerated Premiere Pro effects (available only when
Matrox RT technology is enabled):
• Accelerate effects and transitions Select this if you want realtime
playback of Premiere Pro effects and transitions that support this
feature as explained in Chapter 8, “Setting Up Realtime Effects with
Adobe Premiere Pro.” Because Matrox emulates Premiere Pro’s native
version of these effects and transitions, if you don’t like the emulation
you can clear this option to revert to Premiere Pro’s native version that
requires rendering.
• Accelerate Motion Select this if you want realtime playback of
Premiere Pro’s Motion effect. You can clear this option to turn off the
Matrox acceleration and revert to Premiere Pro’s version that requires
rendering.
10 Click OK to save your settings and return to the Sequence Settings dialog
box.

Defining your sequence settings

58

Specifying your video output settings (X.linkLE)

You can specify various settings to configure your video output signals from the
X.linkLE breakout box, such as to specify your main and secondary SDI output
formats, analog output format, and the setup level for NTSC analog video.
Advanced settings, such as horizontal delay and SC/H phase adjustments are
provided on a separate page.
° To specify your video output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Video Output tab, then click the General tab.

3 Under Main SDI Output Format, select the video format you want for your
main SDI output (SDI OUT 1) from the X.linkLE breakout box. Depending
on your sequence’s video format, you may not be able to change the main
SDI output format.
¦ Note The second SDI output (SDI OUT 2) from the X.linkLE breakout box
supports SD-SDI video only. If you’re working with an HD sequence, your
secondary SDI output format will be set to NTSC or PAL depending on your
sequence’s video format, and the video output will be downconverted (this
includes appropriate color space conversion from HD to SD). The second SDI
output won’t be available, however, for a 1080p @ 24 fps sequence.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 59

4 If the Aspect Ratio Conversion list is available, such as when the video
output for an HD sequence is downconverted to NTSC or PAL, select one of
the following settings for the video output:
$ 16x9 Letterbox Outputs the widescreen 16:9 picture in letterbox mode
by adding black bars at the top and bottom of the picture for display on a
standard 4:3 television screen.
$ Anamorphic Outputs the widescreen 16:9 picture as horizontally
compressed 4:3 video, which retains the picture’s full vertical resolution
for display on a widescreen television. To display the video with the
correct proportions on an NTSC or PAL monitor, select the 16:9 display
setting on the monitor.
5 If the Pulldown Method list is available, select the pulldown method you
want to be applied to your output video (Standard 2:3 or Advanced
2:3:3:2). Depending on your sequence’s frame rate and the current main
SDI output format, a pulldown method may automatically be selected.
6 Under Analog Output, you can specify your analog output format, NTSC
setup level, and output type:
$ Output Format Use this to specify whether you want the format for the
analog video outputs from X.linkLE to be the same as the main or the
secondary SDI output. If you’re working with an SD sequence or a 1080p
@ 24 fps sequence, however, the analog output format will be set to
Same as Main SDI Out.
$ Setup (NTSC) Select the setup level you want for your NTSC analog
video:
• 0 IRE Applies a setup level of 0 IRE. You should select this option
only when working with a commercial DV device that uses the
Japanese analog NTSC setup of 0 IRE. For example, if the video
appears too bright when you play back DV clips on your NTSC
monitor, you can change the setup to 0 IRE to output your DV clips at
the correct brightness.
• 7.5 IRE Applies the standard NTSC setup level of 7.5 IRE.
$ Output Type Select the type of analog video output you want. If you’re
outputting SD analog video, you can select Composite & Component,
or Composite & S-Video. If you’re outputting HD analog video, the
analog output type will be set to Component (and the composite output
will be invalid).
7 Click OK to save your settings and return to the Sequence Settings dialog
box.

Defining your sequence settings

60

Specifying advanced video output settings (X.linkLE)

You can specify advanced video output settings for X.linkLE, such as to make
horizontal delay and SC/H phase adjustments.
° To specify your advanced video output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Video Output tab, then click the Advanced tab.

3 Use the Horizontal Delay sliders to advance or delay the horizontal timing
of your SDI and analog video outputs.
4 Select Allow Super White to allow the highest luminance level of your
video output to exceed the standard maximum white level. Select Allow
Super Black to allow the lowest luminance level of your video output to fall
below the standard black level.
¦ Note The Allow Super Black and Allow Super White options affect both
your SDI and analog video outputs. Super white and super black should not
be allowed when producing your final video production for broadcast.
5 Use the SC/H Phase slider to advance or delay your analog video output’s
subcarrier phase with respect to the horizontal sync of your genlock source
(for composite video only).
6 Click OK to save your settings and return to the Sequence Settings dialog
box.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 61

Specifying your video output settings (X.linkHD)

You can specify various settings to configure your video output signals from the
X.linkHD breakout box, such as to adjust the gain of your component video, and
adjust the horizontal delay of your SDI video.
° To specify your video output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Video Output tab.

3 Under Master Output Format, select the video format you want for all
video outputs from the X.linkHD breakout box. Depending on your
sequence’s video format, you may not be able to change the master output
format.
4 If the Aspect Ratio Conversion list is available, such as when the video
output for an HD sequence is downconverted to NTSC or PAL, select one of
the following settings for the video output:
$ 16x9 Letterbox Outputs the widescreen 16:9 picture in letterbox mode
by adding black bars at the top and bottom of the picture for display on a
standard 4:3 television screen.
$ Anamorphic Outputs the widescreen 16:9 picture as horizontally
compressed 4:3 video, which retains the picture’s full vertical resolution
for display on a widescreen television. To display the video with the

Defining your sequence settings

62

correct proportions on an NTSC or PAL monitor, select the 16:9 display

setting on the monitor.
5 If the Pulldown Method list is available, select the pulldown method you
want to be applied to your output video (Standard 2:3 or Advanced
2:3:3:2). Depending on your sequence’s frame rate and the current master
output format, a pulldown method may automatically be selected.
6 Under Analog Setup (NTSC), select the setup level you want for your
NTSC analog video:
$ 0 IRE Applies a setup level of 0 IRE. You should select this option only
when working with a commercial DV device that uses the Japanese
analog NTSC setup of 0 IRE. For example, if the video appears too bright
when you play back DV clips on your NTSC monitor, you can change the
setup to 0 IRE to output your DV clips at the correct brightness.
$ 7.5 IRE Applies the standard NTSC setup level of 7.5 IRE.
7 Select Allow Super White to allow the highest luminance level of your
video output to exceed the standard maximum white level. Select Allow
Super Black to allow the lowest luminance level of your video output to fall
below the standard black level.
¦ Note Super white and super black should not be allowed when producing
your final video production for broadcast.
8 Under Component Gain, use the sliders to increase or decrease the Y
(luminance), Cb (blue minus luminance), and Cr (red minus luminance) gain
of the component video output.
9 Under Advanced Settings, select the format you want for your component
video output, and make any required timing adjustments to your SDI video
output:
$ Component Output Format From this list, select the format (YUV or
RGB ) that matches your component video output connections. For
example, if the component video output from X.linkHD is connected to a
video monitor using analog component Y, R-Y, and B-Y, connections,
select YUV.
$ SDI Horizontal Delay Use this slider to advance or delay the
horizontal timing of the SDI video output.
10 Click OK to save your settings and return to the Sequence Settings dialog
box.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 63

Specifying your video output settings (X.linkSD)

You can specify various settings to configure your video output signals from the
X.linkSD breakout box, such as to adjust the gain of your analog video, and
adjust the horizontal delay of your SDI video.
° To specify your video output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Video Output tab.

3 Under Component Gain, use the sliders to increase or decrease the Y

(luminance), Cb (blue minus luminance), and Cr (red minus luminance) gain
of the component video output.
4 Under S-Video Gain, use the sliders to increase or decrease the Y
(luminance) and C (chrominance) gain of the S-Video output.
5 Under Composite Gain, use the slider to increase or decrease the gain of
the composite video output.
6 Under Master Output Format, select the video format you want for all
video outputs from the X.linkSD breakout box. Depending on your
sequence’s video format, you may not be able to change the master output
format.
¦ Note If you’re working with an HD sequence, the master output format will
automatically be set to NTSC or PAL depending on your sequence’s video

Defining your sequence settings

64

format, and the video output will be downconverted (this includes appropriate
color space conversion from HD to SD).
7 If the Aspect Ratio Conversion list is available, such as when the video
output for an HD sequence is downconverted to NTSC or PAL, select one of
the following settings for the video output:
$ 16x9 Letterbox Outputs the widescreen 16:9 picture in letterbox mode
by adding black bars at the top and bottom of the picture for display on a
standard 4:3 television screen.
$ Anamorphic Outputs the widescreen 16:9 picture as horizontally
compressed 4:3 video, which retains the picture’s full vertical resolution
for display on a widescreen television. To display the video with the
correct proportions on an NTSC or PAL monitor, select the 16:9 display
setting on the monitor.
8 If the Pulldown Method list is available, select the pulldown method you
want to be applied to your output video (Standard 2:3 or Advanced
2:3:3:2). Depending on your sequence’s frame rate and the current master
output format, a pulldown method may automatically be selected.
9 Select Allow Super White to allow the highest luminance level of your
video output to exceed the standard maximum white level. Select Allow
Super Black to allow the lowest luminance level of your video output to fall
below the standard black level.
¦ Note Super white and super black should not be allowed when producing
your final video production for broadcast.
10 Under Analog Setup (NTSC), select the setup level you want for your
NTSC analog video (this affects both the input and output):
$ 0 IRE Applies a setup level of 0 IRE. You should select this option only
when working with a commercial DV device that uses the Japanese
analog NTSC setup of 0 IRE. For example, if the video appears too bright
when you play back DV clips on your NTSC monitor, you can change the
setup to 0 IRE to output your DV clips at the correct brightness.
$ 7.5 IRE Applies the standard NTSC setup level of 7.5 IRE.
11 Under Advanced Settings, use the following sliders to make timing
adjustments to your video output:
$ SC/H Phase Advances or delays the video output’s subcarrier phase
with respect to the horizontal sync of your genlock source (for composite
video only).
$ SDI Horizontal Delay Advances or delays the horizontal timing of the
SDI video output.
12 Click OK to save your settings and return to the Sequence Settings dialog
box.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 65

Specifying your genlock settings

You can select the source to which you want to genlock all devices connected to
your Matrox Axio system, as well as adjust the timing settings for all video
outputs from Matrox Axio.
For examples of connecting an external sync source to your system, see “Typical
Matrox Axio LE connections” on page 23 and “Typical Matrox Axio HD and SD
connections” on page 40. When using Matrox RS-422 device control with an
analog device, you need to connect an external broadcast-quality analog sync
source, such as a sync generator, as shown in the illustrations.
° To specify your genlock settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Genlock tab.

3 From the Genlock Source list, select one of the following:

$ Internal Genlock to Matrox Axio’s internal reference signal. Select this
option only if you don’t have an external sync generator or other reliable
external video sync source.
$ Black Burst Broadcast Quality Genlock to an external
broadcast-quality analog sync source connected to REF IN on your X.link
breakout box. This must be a stable sync source, such as an external sync
generator (bi-level black burst for SD or tri-level sync for HD), or a source
VTR that has a built-in TBC.
$ Black Burst VTR Quality Genlock to your analog source VTR
connected to REF IN on your X.linkSD breakout box. (This option is not
available on X.linkHD or X.linkLE.)

Defining your sequence settings

66

$ SDI Video Genlock to your SDI video source. Use this option only if
your SDI video source is very stable (that is, it has a built-in TBC). (This
option is not available on X.linkLE.)
Remarks
$ When capturing embedded SDI audio on a Matrox Axio SD system, you
must set your genlock source to SDI Video to avoid audio glitches in
your captured audio.
$ When capturing from an SDI device on Matrox Axio LE, you must set
your genlock source to Black Burst Broadcast Quality.
$ The status of your genlock source will be displayed, such as Locked or
Not Locked , to indicate whether or not Matrox Axio is presently locked
to your selected genlock source. When you change the genlock source,
distorted video and silent audio will be output until Matrox Axio locks to
the new genlock source.
4 Under Genlock Video Format, select your genlock source’s video format.
If you can’t select a video format, make sure that your genlock source
matches the specified video format. When the genlock source is set to
Internal , the genlock video format is set to your sequence’s master output
format on Matrox Axio HD or SD, or your sequence’s main SDI output
format on Matrox Axio LE.
¡ Important To ensure good capture results, make sure that your genlock
source’s video format matches the format of your captured material.
5 Under Advanced Settings, drag the Horizontal Delay and Vertical Delay
sliders to adjust the horizontal and vertical timing of your video outputs with
respect to your genlock source. This lets you compensate for cable delays
within your system.
6 Select Reference Termination if you want to terminate the analog sync
signal. (This option is not available on X.linkLE.)
7 Click OK to save your settings and return to the Sequence Settings dialog
box.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 67

Specifying your audio output settings (X.linkLE)

Matrox Axio LE lets you customize your audio output settings, such as to adjust
the volume of your analog audio output. You can also display audio mapping
settings that show which channels are used to output your audio when playing
mono, stereo, 5.1 surround, and 16-channel audio tracks.
° To specify your audio output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the General tab.

3 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button ( ) to
disable it. The Left slider adjusts the analog audio outputs 1, 3, and 5. The
Right slider adjusts the analog audio outputs 2, 4, and 6.
4 From the XLR Output Impedance list, select the impedance setting you
want for your balanced analog XLR audio output, such as Hi-Z (high
impedance).
¦ Note On Matrox Axio LE, the bit depth for your embedded SDI audio is
set to 24-bit (as shown under SDI Audio Output Format).
5 Click OK to save your settings and return to the Sequence Settings dialog
box.

Defining your sequence settings

68

Displaying settings for mono and stereo mapping

(X.linkLE)
Matrox Axio LE lets you display mono and stereo mapping settings that show
which channels are used to output your audio when playing back mono and
stereo audio tracks in your sequence.
° To display your mono/stereo mapping settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the Mono/Stereo Mapping tab.

This page shows that when playing mono and stereo audio tracks, audio is output
to the first embedded SDI audio output pair and the first analog audio and
AES/EBU output pairs (ANALOG AUDIO OUT 1 and OUT 2 and AES/EBU
OUT 1/2) on X.linkLE.

Chapter 7, Defining Your Adobe Premiere Pro Settings

 69

Displaying settings for 5.1 surround mapping (X.linkLE)

Matrox Axio LE lets you display 5.1 surround mapping settings that show which
channels are used to output your audio when playing back 5.1 surround tracks in
your sequence.
° To display your 5.1 surround mapping settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the 5.1 Surround Mapping tab.

This page shows that when playing back 5.1 surround tracks, audio is output as
follows:
• Front left and right surround channels are output to the first embedded SDI
audio output pair and the first analog audio and AES/EBU output pairs
(ANALOG AUDIO OUT 1 and OUT 2 and AES/EBU OUT 1/2) on
X.linkLE.
• Rear left and right surround channels are output to the second embedded SDI
audio output pair and the second analog audio and AES/EBU output pairs
(ANALOG AUDIO OUT 3 and OUT 4 and AES/EBU OUT 3/4) on
X.linkLE.
• The center surround channel is output to the third embedded SDI audio
output pair, and the subwoofer channel is output to the fourth embedded SDI
audio output pair. Both the center and subwoofer surround channels are
output to the third analog audio and AES/EBU output pairs (ANALOG
AUDIO OUT 5 and OUT 6 and AES/EBU OUT 5/6) on X.linkLE.

Defining your sequence settings

70

Displaying settings for 16-channel mapping (X.linkLE)

Matrox Axio LE lets you display settings that show which channels are used to
output your audio when playing back a 16-channel master audio track in a
sequence. Matrox Axio LE supports the output of the first eight channels of your
sequence’s master track to the embedded SDI audio output, and the output of the
first six channels to the analog and AES/EBU audio output.
° To display your 16-channel mapping settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the 16-channel Mapping tab.

This page shows that when playing back a 16-channel master audio track, audio
is output as follows:
• Channels 1 and 2 are output to the first embedded SDI audio output pair and
the first analog audio and AES/EBU output pairs (ANALOG AUDIO OUT 1
and OUT 2 and AES/EBU OUT 1/2) on X.linkLE.
• Channels 3 and 4 are output to the second embedded SDI audio output pair
and the second analog audio and AES/EBU output pairs (ANALOG AUDIO
OUT 3 and OUT 4 and AES/EBU OUT 3/4) on X.linkLE.
• Channels 5 and 6 are output to the third embedded SDI audio output pair and
the third analog audio and AES/EBU output pairs (ANALOG AUDIO OUT
5 and OUT 6 and AES/EBU OUT 5/6) on X.linkLE.
• Channels 7 and 8 are output to the fourth embedded SDI audio output pair.

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Specifying your audio output settings (X.linkHD

and X.linkSD)
Matrox Axio HD and SD let you customize your audio output settings, such as to
adjust the volume of your analog audio output, select your SDI audio output
format, and indicate which channels you want to output when playing mono,
stereo, 5.1 surround, and 16-channel audio tracks.
° To specify your audio output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the General tab.

3 Under Analog Audio Volume, drag the sliders to adjust the volume of your
analog audio output. By default, the sliders are locked so that they move
together. To move each slider independently, click the lock button ( ) to
disable it.
4 From the SDI Audio Output Format list, select the bit depth you want for
your embedded SDI audio output ( 20-bit or 24-bit).
5 From the XLR Output Impedance list, select the impedance setting you
want for your balanced analog XLR audio output, such as Hi-Z (high
impedance).
6 Click OK to save your settings and return to the Sequence Settings dialog
box.

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Specifying settings for mono and stereo mapping

(X.linkHD and X.linkSD)
You can choose to mute or enable each of the audio outputs from the X.linkHD or
X.linkSD breakout box when playing back mono and stereo tracks in your
sequence.
° To specify your mono/stereo mapping settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the Mono/Stereo Mapping tab.

¦ Note The AES/EBU channels are not available on X.linkSD.

3 To mute the output for a particular channel, click its speaker button. For
example, to mute the analog output, click the speaker button under Analog.
To re-enable the channel, click the button again.
4 Under SDI, you can enable a maximum of four SDI audio pairs (two pairs
from any two groups). To enable an audio pair for a group that is presently
not available, you must mute both audio pairs from one of the currently
selected groups. Once an SDI channel becomes available, you can click its
button to enable the channel (the speaker icons will appear on the button).
5 Click OK to save your settings and return to the Sequence Settings dialog
box.

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Specifying settings for 5.1 surround mapping (X.linkHD

and X.linkSD)
You can indicate which 5.1 surround channels you want to assign to the audio
outputs from the X.linkHD or X.linkSD breakout box when playing back 5.1
surround tracks in your sequence.
° To specify your 5.1 surround mapping settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the 5.1 Surround Mapping tab.

¦ Note The AES/EBU channels are not available on X.linkSD.

3 Under Surround Channels, drag the speaker buttons representing the 5.1
surround channels to the particular output channels to which you want them
to be assigned. For example, to output the front left and right channels to the
analog left and right outputs, drag the button to Analog L/R .
You can select Output center/subwoofer to same pair if you want both
the center and subwoofer surround channels to be output to the same stereo
pair (the two channels will be represented as a single button). This setting is
required for some equipment.
4 To mute the output for a particular channel, click its speaker button. To
re-enable the channel, you must drag a speaker button to it.
5 Under SDI, you can assign surround channels to a maximum of four SDI
audio pairs (two pairs from any two groups). To assign a surround channel to

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an audio pair for a group that is presently not available, you must mute both
audio pairs from one of the currently selected groups.
6 Click OK to save your settings and return to the Sequence Settings dialog
box.
Specifying settings for 16-channel mapping (X.linkHD and
X.linkSD)
You can indicate which channels you want to assign to the audio outputs from the
X.linkHD or X.linkSD breakout box when playing back a 16-channel master
audio track in a sequence. Matrox Axio supports the output of the first eight
channels of the master audio track.
° To specify your 16-channel mapping settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the Audio Output tab, then click the 16-channel Mapping tab.

¦ Note The AES/EBU channels are not available on X.linkSD

3 Under Channels, drag the speaker buttons representing the channels to the
particular output channels to which you want them to be assigned. For
example, to output channels 1 and 2 to the analog left and right outputs, drag
the button to Analog L/R.
4 To mute the output for a particular channel, click its speaker button. To
re-enable the channel, you must drag a speaker button to it.
5 Under SDI, you can assign channels to a maximum of four SDI audio pairs
(two pairs from any two groups). To assign channels to an audio pair for a

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group that is presently not available, you must mute both audio pairs from
one of the currently selected groups.
6 Click OK to save your settings and return to the Sequence Settings dialog
box.

Selecting your DV-1394 output settings

You can choose to output a Matrox sequence over the 1394 interface to perform
an export to a DVCPRO HD device.
¦ Note DV-1394 export to DVCPRO HD is supported for 1080i @ 25 fps,
29.97 fps, and 720p @ 59.94 fps sequences only. For more information about
exporting to a DVCPRO HD device, see “Exporting to a DVCPRO HD device
using DV-1394 device control” on page 105.
° To select your DV-1394 output settings:
1 Choose Sequence > Sequence Settings and click the Playback
Settings button.
2 Click the DV-1394 Output tab.

3 Select Enable 1394 output for export to tape if you want your sequence
to be output over the 1394 interface when you perform an export to tape (that
is, when you choose File > Export > Export to Tape). This lets you record
your sequence to a DVCPRO HD device.
¡ Important Because this option requires additional system resources, you
may find that when this option is selected some effects that were previously
realtime will drop frames and require rendering (you’ll see a red bar over
these segments after playing back your sequence). Therefore, you should
select this option only when you want to export your sequence to a
DVCPRO HD device.
4 Click OK to save your settings and return to the Sequence Settings dialog
box.

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76

Defining your video preview settings

When you select a Matrox sequence preset, an appropriate preview file format
and codec are automatically set for previewing your video on Matrox Axio.

Depending on your sequence’s video format, you can select a different codec to
render your video previews. For details on configuring Matrox codec settings, see
“Configuring the Matrox DVCPRO HD codec” on page 184, “Configuring the
Matrox Uncompressed codecs” on page 184, and “Configuring the Matrox
MPEG-2 I-frame codecs” on page 185.
Remarks
• When you configure a Matrox uncompressed codec (SD or HD resolution),
make sure you choose the appropriate bit depth and scan mode for your
sequence’s format. For example, if you are working with a 10-bit progressive
video sequence, set 10-bit as your bit depth and Progressive as the scan
mode.
• The Matrox DVCPRO HD codec is supported for rendering video previews
in 1080i @ 25 fps and 29.97 fps projects only. When you configure the
Matrox DVCPRO HD codec, make sure that you choose the frame rate that
matches your sequence’s video format.
• When selecting a standard or widescreen preview file format for an SD
sequence, make sure that you select the format that matches your sequence’s
video format, such as NTSC Standard for a Matrox NTSC standard
sequence.
• The Matrox MPEG-2 I-frame codec is not supported for rendering video
previews in Matrox NTSC and 486p sequences. As an alternative for these
sequences, you can set the preview file format to I-Frame Only MPEG to
render your video previews using the Adobe MPEG I-frame codec.
For details on specifying additional settings for your video previews, see your
Adobe Premiere Pro documentation.

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Defining your capture settings

The Matrox Capture Settings dialog box has pages that you can use to specify
your settings for capturing video and audio in Adobe Premiere Pro on Matrox
Axio. If you want to capture material using RS-422 device control, see “Setting
up Matrox RS-422 device control” on page 99. If you want to capture material
from a DV-1394 device using device control, you can use Adobe DV/HDV
device control as explained in your Adobe Premiere Pro documentation.
¦ Note When you specify your capture settings on Matrox Axio, VU meters can
be displayed to let you monitor your audio input levels. For more information,
see “Monitoring audio levels for capture” on page 84.

Specifying your video capture settings

Matrox Axio lets you capture your video to various formats depending on your
sequence’s video format and Matrox Axio hardware. For example, if you’re
working with an SD sequence, you can capture to a DV format such as DVCPRO
to create .avi files for use in your Premiere Pro projects. For certain HD
sequences, you can capture DVCPRO HD material natively over the DV-1394
interface to an .avi file.
When working with an SD sequence, you can also choose to capture video to an
.m2v file for DVD authoring using Adobe Encore. For details about specific
limitations when capturing to Matrox .m2v files, see “Notes about capturing to
Matrox .m2v files” on page 85.
° To specify your settings for capturing video in Adobe Premiere Pro on
Matrox Axio:
1 Choose Project > Project Settings > General.
2 From the Capture Format list, select Matrox AVI to capture to an .avi file,
or Matrox M2V to capture to an .m2v file (for SD sequences only).
¦ Note If you want to capture DV material other than DVCPRO HD natively
over the 1394 interface, you need to use a native Adobe Premiere Pro DV or
HDV capture format. For details on how to capture material in Adobe Premiere
Pro, see your Adobe Premiere Pro documentation.

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3 Click the Configure button, then click the Video Capture Settings tab.

4 Under Input Device, select the device from which you want to capture
material (this may be automatically set for you based on your sequence’s
video format):
$ X.linkLE or X.linkSD to capture material from an analog or SDI video
source connected to your X.linkLE or X.linkSD breakout box.
$ X.linkHD to capture material from an SDI video source connected to your
X.linkHD breakout box.
¦ Note Analog and SDI input is not supported for 486p @ 29.97 fps,
576p @ 25 fps, 1440 ×1080p, and 720p @ 23.98 fps, 25 fps, and 29.97 fps
sequences.
$ DV-1394 to capture material from a DV-1394 device connected to your
system. For capture to a Matrox .avi file, DV-1394 input is supported only
for native DVCPRO HD capture when working with 1080i, 1080p
@ 29.97 fps, and 720p @ 23.98 fps, 25 fps, 29.97 fps, and 59.94 fps
sequences. For capture to a Matrox .m2v file, DV-1394 input is supported
for all SD sequences.
¦ Note Capturing audio from a DV-1394 device is not supported for a 720p
@ 25 fps sequence.
5 If you selected an X.link breakout box as your input device, from the Input
Source list, select the type of input you want to capture. If you’re capturing
from X.linkLE or X.linkSD, select SDI, Component, Composite, or
S-Video . If you’re capturing from X.linkHD, the Input Source will be set
to SDI.

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Remarks
$ If you selected DV-1394 as your input device, the name of the DV-1394
device connected to your system will appear in the Input Source box.
$ If Matrox Axio can’t detect your source device when you start a capture,
you’ll receive an error message. Either black video will be captured or the
capture won’t be able to start until a valid input signal is present. In either
case, you must make sure that your source device is switched on and
properly connected to your system to properly capture the video.
$ To capture analog or SDI input for a 486p @ 23.98 fps sequence, you
must specify In and Out points for your captured clips (manual captures
are not supported).
6 From the Input Format list, select the video format that matches your
source video. Depending on your sequence’s video format, you may not be
able to change the input format. If needed, Matrox Axio will apply an
appropriate pulldown method to convert the incoming video to your
sequence’s video format. For example, if your sequence’s video format is
1080p @ 23.98 fps and you set the Input Format to [email protected], a
standard reverse pulldown (2:3 cadence) will be applied to capture the video
to 1080p @ 23.98 fps.
7 From the Input Aspect Ratio list, select the aspect ratio of your SD source
video (4:3 or 16:9). For example, to capture video that was recorded using
the standard TV screen format, select 4:3. To capture video that was
recorded using the widescreen 16:9 format, select 16:9. If you’re capturing
video for an HD sequence, the Input Aspect Ratio will be set to 16:9.
8 Under Capture Format, select your desired capture format from the list. If
you’re capturing DVCPRO HD material to an .avi file from a DV-1394
device, the video will be captured natively over the DV-1394 interface and
the Capture Format will be set to Native DVCPRO HD. If you’re
capturing to an .m2v file, the Capture Format will be set to Matrox
MPEG-2 IBP.
¦ Note The formats to which you can capture clips depend on your sequence’s
video format and Matrox Axio hardware. For more information, see
“Supported video compression formats” on page 215.
$ Matrox DV/DVCAM Captures video to DV or DVCAM format.
$ Matrox DVCPRO Captures video to DVCPRO format.
$ Matrox DVCPRO50 Captures video to DVCPRO50 or D-9 format.
$ Matrox DVCPRO HD Captures video to DVCPRO HD format.
(Available only for 1080i and 720p sequences.)
$ Matrox 8-bit Uncompressed Captures video to 8-bit uncompressed
format.

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$ Matrox 10-bit Uncompressed Captures video to 10-bit

uncompressed format.
¦ Note On Axio LE, Matrox 10-bit Uncompressed is the only capture
format available to capture analog or SDI video for a sequence that has a 10-bit
video processing format, and is not available for an 8-bit sequence. If you want
to capture to a format other than Matrox 10-bit Uncompressed, you can
switch the video processing format (on the General page) to 8-bit, and then
change back to 10-bit after you’ve completed your capture.
$ Matrox MPEG-2 I-frame Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only). For the best results when capturing video clips on which
you’ll be applying chroma key effects, you should use this codec instead
of a DV codec.
$ Matrox MPEG-2 I-frame HD Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate (HD
resolution only). This is the only capture format available to capture
analog or SDI video for a 1440×1080i sequence.
9 If you’re capturing to a Matrox MPEG-2 format, click the Configure button
to configure your MPEG-2 settings. For details on the available settings, see
“Selecting your MPEG-2 I-frame settings” on page 88, or “Selecting your
MPEG-2 IBP settings” on page 90. Once you’ve configured your settings,
click OK to return to the Matrox Capture Settings dialog box.
10 If you’re capturing Panasonic VariCam material, select Enable VariCam
capture (supported only for a 720p @ 23.98 fps or 25 fps sequence).
Matrox Axio will remove the redundant (filler) frames from the VariCam
input during capture and create a clip in the same format as your sequence
for editing.
¡ Important When you select Enable VariCam capture, audio cannot be
captured. When batch capturing VariCam clips, you must indicate that you
want to capture video only by selecting Video on the Logging pane of the
Capture panel under Setup.
11 Select Use Automatic Gain Control (AGC) if you want the gain of your
composite or S-Video input signal to be adjusted automatically to
compensate for very bright or dark images. This improves the brightness or
contrast of your picture. (Available when capturing from X.linkLE or
X.linkSD only.)
12 From the Input Type list, select the type of equipment you’re using for
capture:
$ Broadcast-quality Source Select this if your source device is
broadcast-quality. This setting provides the best capture results for most
devices.

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$ Consumer-quality Source Select this if you’re having problems

capturing video because your source device doesn’t meet
broadcast-quality standards. For example, the capture may be interrupted
when you try to capture from certain composite and S-Video devices,
especially from low-quality VCRs. If this happens, selecting
Consumer-quality Source will allow the video to be captured, but you
may experience dropped frames during the capture.
¦ Note For any change to the input type to take effect, you must restart
Premiere Pro and open your project again.
13 Click OK to save your settings and return to the Project Settings dialog
box.

Specifying your audio capture settings

You can specify various audio capture settings, such as to specify your input
source and the type of audio files (either stereo .wav or mono .wav) that you want
to create when capturing audio on Matrox Axio.
Remarks
• When you capture to an .avi file on Matrox Axio, the clip’s video and audio
are saved to the .avi file, and the clip’s audio is also saved to one or more
separate .wav files. You could choose to edit the separate .wav files using
audio post-processing software, such as Adobe Soundbooth.
• When you capture to an .m2v file on Matrox Axio, the clip’s associated
audio is always saved to one or more separate stereo .wav files.
° To specify your settings for capturing audio in Adobe Premiere Pro on
Matrox Axio:
1 Choose Project > Project Settings > General.
2 From the Capture Format list, select Matrox AVI to capture to an .avi file,
or Matrox M2V to capture to an .m2v file (for SD sequences only).

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3 Click the Configure button, then click the Audio Capture Settings tab:

4 If you selected an X.link breakout box as your video input device (see
“Specifying your video capture settings” on page 77), you must also select
the source from which you want to capture audio. From the Input Source
list, select your audio source. For example, if you want to capture the
embedded audio of your SDI source, select SDI (embedded audio).
¦ Note If you experience dropped frames when capturing embedded SDI
audio on Axio LE, you can set your audio capture source to SDI (embedded
audio) - One pair only. This improves the capture performance by processing
only one audio pair for the capture.
5 Under Capture Format, select the bit-depth for your captured audio files. If
you’re capturing from a DV-1394 device, the Capture Format will be set to
16-bit.
6 If you want the VU meters to be displayed each time you configure your
Matrox Axio capture settings or open the Capture panel, select Show VU
meters. For details on using the VU meters, see “Monitoring audio levels
for capture” on page 84.
7 Under Capture Files, indicate whether you want to capture to stereo or
mono audio files, and select which channels you want to save to separate
.wav files.
$ From the File Type list, select Stereo to save your captured audio to
stereo .wav files, or Mono to save your captured audio to mono .wav files.
If you’re capturing an .m2v clip, the File Type will be set to Stereo.

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$ From the Filename lists, select which stereo pairs or mono channels you
want to save to your .wav files (up to four stereo files or up to eight mono
files depending on the type of audio being captured). Select None for the
particular .wav files you don’t want to be created, or click the D (default)
button for each Filename list if you want to capture only channels 1 and
2. When Matrox Axio saves each .wav file, it assigns a .Stereo.wav or
.Mono.wav suffix to the base name you gave for the associated video file.
For example, if you’ve named your video file MyFile.avi, the associated
stereo audio files would be named MyFile.Stereo1.wav,
MyFile.Stereo2.wav, etc.
Remarks
$ The channels that you choose to save to the first stereo.wav file or first
two mono.wav files will be embedded in the associated .avi file. When
you import your .avi file to the Project panel, the clip’s separate .wav files
will also be imported, and the embedded audio in the .avi file will be
ignored. The clip’s .avi file and first associated .wav file, however, will
appear as a single Movie clip in your project. The embedded audio in the
.avi file will be used only if the .avi file does not have any associated .wav
files. Therefore, if you perform audio post processing on your .avi files,
make sure you delete the associated .wav files so that only the embedded
audio in the .avi files will be used in your project.
$ When performing an audio-only capture, Matrox Axio supports capture of
only one stereo pair. Your first stereo or first two mono channels will be
saved to a single stereo .wav file (any other channels will be ignored).
When Axio saves the .wav file of an audio-only capture, it does not assign
the .Stereo.wav suffix to the filename.
8 Click OK to save your settings and return to the Project Settings dialog
box.

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Monitoring audio levels for capture

If you select Show VU meters on the Audio Capture Settings page, each
time you configure your Matrox Axio capture settings or open the Capture panel
to start a capture in Adobe Premiere Pro, VU meters will be displayed to let you
monitor the levels of your currently selected audio input source.

Clipping detectors

Peak level indicators

As you play your audio source, the color of the input level is green at or below
–12 dBSF, yellow between –12 and –6 dBFS, and red above –6 dBFS. The
clipping detectors will “light up” (become red) whenever audio clipping occurs.
The peak level indicators are thin lines that show the highest level recently
reached. These indicators will show the peak level for about two seconds or until
a higher peak level is reached.
If needed, adjust the audio level on your source device to keep the average input
level between –30 and –10 dBSF.

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Notes about capturing to Matrox .m2v files

When capturing to Matrox .m2v files, keep the following points in mind:
• Automatic scene detection (Scene Detect) is not supported, but batch capture
is supported.
• Batch capture to Matrox .m2v files is not frame accurate.
• An associated .xmp metadata file is created for all captured and logged
(offline) .m2v clips. These files are created in your specified video capture
folder, and contain time code and other information that you provided for
your .m2v clips, such as tape name, description, and scene. You can open the
.xmp files in Adobe Bridge. Take care not to delete the .xmp files and always
keep them with their associated .m2v files. Otherwise, you won’t be able to
batch capture logged .m2v clips, and the time code information won’t appear
for your .m2v clips in the Project panel.
• Matrox .m2v files are to be used for DVD authoring with Adobe Encore.
However, if you want to use your Matrox .m2v clips in Adobe Premiere Pro,
be aware of the following issues:
$ The associated .wav files for your .m2v clips are not automatically
imported to the Project panel.
$ When performing a batch capture of .m2v clips, the captured video and
audio clips won’t be automatically imported to the Project panel. Because
you won’t be able to link the logged (offline) clips to the captured files on
disk, you’ll have to import the batch captured .m2v clips manually. As
well, if you recapture clips using batch capture, captured video clips will
be imported automatically only if you choose to delete the original media
files from disk.
$ When you place a Matrox .m2v clip on a video track, an empty associated
.wav clip will be placed on an audio track beneath it. To get rid of this
clip, select it in the sequence and choose Clip > Unlink. Once you’ve
unlinked the .wav from the .m2v, you can select the .wav clip on the audio
track and delete it.
$ It’s recommended that you don’t add handles (extra frames) to your
captured .m2v clips. If you do, the handles will be appropriately trimmed
from the video when you add the clip to your sequence, but the handles
won’t be trimmed from the associated audio.

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Specifying your audio monitoring settings

(X.linkHD and X.linkSD)
Matrox Axio HD and SD let you customize your settings for monitoring audio
during capture, such as to select the particular output channels on which you
want to monitor your audio when capturing embedded SDI audio. Only audio
input channels that are to be captured to a .wav file can be monitored.
° To specify your settings for monitoring audio during capture:
1 Choose Project > Project Settings > General.
2 From the Capture Format list, select Matrox AVI.
3 Click the Configure button, then click the Audio Monitoring tab.

¦ Note The AES/EBU channels are not available on X.linkSD.

4 Under Input Channels, each speaker button represents a stereo pair or two
mono channels that you’re capturing as specified on the Audio Capture
Settings page (see “Specifying your audio capture settings” on page 81).
For example, if you want to monitor your first captured stereo or mono
channels on the left and right analog audio outputs, drag the button to
Analog L/R .
5 To mute audio monitoring for a particular channel, click its speaker button.
To re-enable monitoring, you must assign an input channel to it.
6 Under SDI, you can assign input channels to a maximum of four SDI audio
pairs (two pairs from any two groups) for monitoring. To assign an input

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channel to an audio pair for a group that is presently not available, you must
mute both audio pairs from one of the currently selected groups.
7 Click OK to save your settings and return to the Project Settings dialog
box.

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Selecting your MPEG-2 I-frame settings

When you select the Matrox MPEG-2 I-frame or Matrox MPEG-2 I-frame HD
format to capture video, you can specify various settings for the MPEG-2 I-frame
compression.
° To select your MPEG-2 I-frame settings:
1 Click the Configure button. This displays a dialog box similar to the
following:

2 Drag the Data Rate slider until your desired data rate is displayed. The
higher the data rate you select, the better the video quality will be. The range
of available data rates depends on whether you’re using the Matrox MPEG-2
I-frame HD or SD format.
¡ Important Depending on the capabilities of your system, you may drop
frames if you select a data rate higher than 125 Mb/sec.
3 To apply advanced settings to your MPEG-2 I-frame file, click the
Advanced button.
¦ Note The default advanced settings should provide good results for most
applications. We recommend that you change these settings only when needed
for special purposes.

4 Under Rounding Type, select one of the following:

$ MPEG-2 Rounds the AC coefficients up to the nearest whole number
when calculating the quantization coefficient.
$ Matrox Custom Truncates the AC coefficients to the lowest whole
number when calculating the quantization coefficient. In some cases, this
setting may yield less artifacts in graphics.
5 Under DC Precision, select the bit-depth precision of the DC intra block.

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¦ Note The higher the DC precision value that’s used to capture or render
your video, the more likely that the DC content will be increased at the expense
of the AC content in the encoded stream. This may result in lowering the
overall quality of the compressed stream at a specified data rate.
6 Under Zig Zag Type, select one of the following:
$ Regular Sets the regular (default) zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure
7-2) specification documentation.
$ Alternate Sets an alternate zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure
7-3) specification documentation. Use this setting when capturing or
rendering video at a high data rate (that is, at a data rate of about 50
Mb/sec for SD video, or 100 Mb/sec or higher for HD video).
7 Select the Force Frame-based DCT setting to render macroblocks as
frames rather than as fields. In some cases, graphics will yield less artifacts if
this option is selected.
8 Click OK to save your settings.

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Selecting your MPEG-2 IBP settings

When capturing video to a Matrox .m2v file using Adobe Premiere Pro, the
capture format is set to Matrox MPEG-2 IBP. You can specify various settings for
the MPEG-2 IBP compression.
° To select your MPEG-2 IBP settings:
1 Click the Configure button. This displays a dialog box similar to the
following:

2 Under Data Rate (Mb/sec), you can select the encoding type and data rate
for the MPEG-2 IBP compression.
$ Encoding type From this list, select one of the following:
• Constant bit rate (CBR) Video is compressed at your selected
target data rate, which is useful when you need to limit or predict the
size of your .m2v file. However, if your video is very complex (such as
scenes with many colors or sharp edges), you’ll need to select a high
data rate to avoid having frames of very blocky video in your file.

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• Variable bit rate (VBR) Video is compressed at varying data rates

based on the complexity of the video. The target data rate you select is
used as the average data rate for the compression.
$ Min, Target, and Max sliders Use these sliders to select your desired
data rate. The higher the target data rate you select, the better the video
quality will be. Only the Target slider will be available if you selected
Constant bit rate (CBR). If you selected Variable bit rate (VBR), all
three sliders will be available so that you can set the minimum, target, and
maximum data rates for the video compression.
¦ Note Adobe Encore requires CBR-encoded .m2v files longer than about two
minutes to be transcoded. VBR-encoded .m2v files do not require transcoding
in Adobe Encore.
3 Under GOP Structure, you can customize the GOP structure for the
MPEG-2 IBP compression as follows:
$ GOP length Determines the number of frames in the GOP (Group of
Pictures).
$ Subgroup length Determines the subgroup length of B-frames and
P-frames in the GOP, after the initial I-frame. For example, a subgroup of
3 appears as “BBP,” and a subgroup of 2 appears as “BP.” The available
subgroup lengths depend on your selected GOP length.
4 Under Profile, select one of the following MPEG-2 profiles:
$ 4:2:0 This profile uses 4:2:0 luminance/chrominance sampling and is
suitable for broadcast transmission and distribution on DVD. You must
select this profile if you’re capturing to an .m2v file for DVD authoring.
$ 4:2:2 This profile uses 4:2:2 luminance/chrominance sampling and is
suitable for high-quality distribution and archiving.
5 Under Motion Estimation, drag the slider to adjust the quality of the
motion estimation used for the video compression. The default setting gives
good results for most video. However, if you have a lot of fast motion in your
video, such as fast-paced sports footage, you can get better results by
dragging the slider to the right (towards Slow/High quality). This improves
the quality of the motion estimation, but decreases the speed of the video
compression. Alternately, if you have mostly slow-paced video, you may
want to drag the slider to the left (towards Fast/Low quality) to decrease
the quality of the motion estimation and speed up the video compression.
6 Click OK to save your settings.

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Exporting to a Matrox .avi file

Several software codecs are included with Adobe Premiere Pro so that you can
export your video to different formats. Your Matrox Axio system adds several
Matrox Video for Windows (VFW) codecs to the ones included with Premiere
Pro to allow you to export your sequence to a Matrox .avi file. For more
information about using the Matrox Video for Windows codecs, see Chapter 11,
“Using the Matrox Video for Windows Codecs.”
If your system includes a Matrox CompressHD card, you can also export your
sequence to a Matrox MAX H.264 file as explained in your Matrox CompressHD
Installation and User Guide.
Remarks
• When batch encoding clips that use the same Matrox VFW codec, they must
have the same codec settings. For example, you cannot export multiple clips
with the Matrox MPEG-2 I-frame HD codec that have different data rates.
You can, however, batch encode clips using different Matrox VFW codecs
and clips that use the same Matrox VFW codec with identical codec settings.
• To export clips from a Matrox NTSC or 486p sequence to a 720×480
Matrox .avi file using a Matrox VFW DV or MPEG-2 I-frame codec, you
must crop the height of the video by applying cropping on the Source page
of the Export Settings dialog box as follows:
GPU-accelerated effects disabled (software only)

Crop settings

Sequence format Export to DV Export to MPEG-2 I-frame

NTSC Top = 5, Bottom = 1 Top = 5, Bottom = 1

486p Top = 4, Bottom = 2 Top = 6, Bottom = 0

GPU-accelerated effects enabled

Crop settings

Sequence format Export to DV Export to MPEG-2 I-frame

NTSC Top = 3, Bottom = 3 Top = 5, Bottom = 1

486p Top = 4, Bottom = 2 Top = 6, Bottom = 0

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° To export your sequence to a Matrox .avi file:

1 Unless you want to export your entire sequence, position the work area bar
over the section of the sequence you want to export.
2 Choose File > Export > Media. This opens the Export Settings dialog
box.

3 From the Format list, select Microsoft AVI.

¦ Note The Microsoft AVI format lets you export your sequence using any
Matrox VFW codec. Although the Matrox AVI format is also available, it is
provided only for exporting a 720p sequence to a Matrox .avi file so that you
can export the sequence to a DVCPRO HD device. For details, see “Preparing
a 720p sequence for export to a DVCPRO HD device” on page 106.
4 From the Preset list, select a Matrox preset that matches the video format
you want for your exported file. (If you want to export to 486p format, you
can select a Matrox 720×480p preset.)
5 Select Export Video and Export Audio if you want to export both video
and audio.
¦ Note Exported audio will be embedded in your .avi file. Matrox Axio does
not support audio-only exports to an .avi file.

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6 Click the Video tab. Under Video Codec, you can select the Matrox codec
you want, depending on the video format to which you’re exporting.

$ Matrox DV/DVCAM Renders video to DV or DVCAM format.

$ Matrox DVCPRO Renders video to DVCPRO format.
$ Matrox DVCPRO50 Renders video to DVCPRO50 or D-9 format.
$ Matrox DVCPRO HD Renders video to DVCPRO HD format (for
1080i and 720p video only).
$ Matrox MPEG-2 I-frame Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only).
$ Matrox MPEG-2 I-frame + Alpha Renders video to MPEG-2
intra-frame format with alpha using the 4:2:2 Profile @ Main Level at a
selected data rate (SD resolution only).
$ Matrox MPEG-2 I-frame HD Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate.
$ Matrox MPEG-2 I-frame HD + Alpha Renders video to MPEG-2
intra-frame format with alpha using the 4:2:2 Profile @ High Level at a
selected data rate.

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$ Matrox Uncompressed SD Renders video to 8-bit or 10-bit

uncompressed SD format.
$ Matrox Uncompressed SD + Alpha Renders video to 8-bit or 10-bit
uncompressed SD format with alpha.
¡ Important To export to NTSC or 486p format using a Matrox
Uncompressed SD codec, you must set the frame size to 720×486 using the
Width and Height settings on the Video page.
$ Matrox Uncompressed HD Renders video to 8-bit or 10-bit
uncompressed HD format.
$ Matrox Uncompressed HD + Alpha Renders video to 8-bit or 10-bit
uncompressed HD format with alpha.
7 If you selected a Matrox codec that requires configuration, click the Codec
Settings button. For details, see “Configuring the Matrox DVCPRO HD
codec” on page 184, “Configuring the Matrox Uncompressed codecs” on
page 184, and “Configuring the Matrox MPEG-2 I-frame codecs” on
page 185.
8 From the Frame Rate list under Basic Settings, set the appropriate frame
rate for the video format to which you are rendering. For example, if you are
rendering to 1080i @ 29.97 fps format, set the frame rate to 29.97.
9 From the Source Range list in the Source Panel, select the range you want
to export, such as Work Area.
10 Click Queue to send your export request to Adobe Media Encoder, or click
Export to immediately start your export.
For information about other video export settings and using Adobe Media
Encoder, see your Adobe Media Encoder documentation.

Exporting a Matrox NTSC or 486p sequence to

MPEG-2 for DVD authoring
When you choose File > Export > Media to export a sequence, Adobe
Premiere Pro provides the MPEG2-DVD export format in the Export Settings
dialog box, which lets you export your sequence to a DVD-compliant MPEG-2
file suitable for use with most DVD authoring programs, such as Adobe Encore.
To export a Matrox NTSC or 486p sequence to a 720×480 MPEG2-DVD format,
you must crop the height of the video by applying cropping on the Source page
of the Export Settings dialog box as follows:
• To export an NTSC sequence, set Top = 5, and Bottom = 1
• To export a 486p sequence, set Top = 6 and Bottom = 0
For details on how to export to MPEG2-DVD format, see your Adobe Premiere
Pro documentation.

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Adding a voice-over to your sequence

Matrox Axio supports voice-over, which allows you to record audio tracks as
.wav files directly in the Timeline panel to add commentary to video clips, such
as newsreels and documentaries.
Remarks
• To use Matrox Axio voice-over, you must have an audio input for the
voice-over as well as a valid video input. The video input is required only for
genlock purposes. It’s recommended that you genlock all the devices
connected to your Matrox Axio system to a reliable external genlock source.
For details on selecting your genlock source, see “Specifying your genlock
settings” on page 65.
• Matrox voice-over does not support pulldown. Therefore, this feature is not
supported for a 486p @ 23.98 fps sequence, or a 1080p @ 23.98 fps
sequence if your input format is set to 1080i @ 29.97 fps.
• Matrox voice-over supports recording to stereo or mono audio tracks only.
• Because Matrox voice-over uses the Matrox Axio audio output mapping
settings in the Matrox Playback Settings dialog box, you must not use the
Audio Output Mapping settings in Adobe Premiere Pro’s Preferences
dialog box to change your audio output mapping settings for the Matrox
ASIO driver.

Connection and setup

1 Connect the microphone to the audio input on your source device and
connect the audio output from the source device to the corresponding audio
input on your X.link breakout box.
2 Choose Edit > Preferences > Audio Hardware.
3 From the Default Device list, select Matrox ASIO Driver for Adobe
Premiere Pro , then click OK.
4 Choose Project > Project Settings > General.
5 Make sure that the Capture Format is set to Matrox AVI.
6 Click the Configure button, then click the Video Capture Settings tab.
7 From the Input Device list, select your X.link breakout box, such as
X.linkHD.
¦ Note The Matrox voice-over feature does not support DV-1394 devices.
8 From the Input Source list, select the video input that you’re using as your
genlock source for the voice-over. For example, if the video input is
connected to the composite video input on your X.linkLE breakout box,
select Composite.
9 Click the Audio Capture Settings tab.

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10 From the Input Source list, select the audio source type corresponding to
the device to which the microphone is connected. For example, if the
microphone is connected to an XLR device on X.linkLE, select XLR
(balanced analog).
11 Test the audio input levels by speaking into the microphone and use the VU
meters in the Audio Input Levels window to check the audio input levels.
While speaking into the microphone, watch the input levels and adjust the
audio level on your source device if needed.
¦ Note The Meter Input(s) Only option is not supported in Adobe Premiere
Pro’s Audio Mixer when using the Matrox ASIO driver as the default device.
12 Click OK to save your settings, then click OK to close the Project Settings
dialog box.

Recording your voice-over

You use Adobe Premiere Pro’s Audio Mixer to record your voice-over. For
further information on using the Audio Mixer, see your Adobe Premiere Pro
documentation.
1 Choose Window > Audio Mixer, then select the sequence in which you
want to record your voice-over (for example, Window > Audio Mixer >
Sequence 01 ).
2 Position the current-time indicator in the Timeline panel where you want the
voice-over to begin.

Adding a voice-over to your sequence

98

¦ Note If a track that you’ll be recording your voice-over on already contains

audio at the current-time indicator, the audio will be overwritten by your
voice-over.

Mute
Track

Record
Enable

Volume

Play/Stop toggle Record

3 In the Audio Mixer panel, click the Record Enable button for each track
on which you want to record audio. You can record your voice-over on
multiple tracks at the same time. If you enable recording for a mono track,
you can select Matrox Left or Matrox Right to indicate which channel you
want to record on that track.
4 Click the Record button to prepare the sequence for recording.
5 Click the Play button to begin recording, and speak into the microphone.
¦ Note During recording, there’s a slight delay in the audio preview of your
voice-over. To mute the preview, click the Mute Track button or you can
choose to lower the track volume by dragging the Volume slider.
6 Click the Stop button to stop recording. Your voice-over will be added to
the selected audio tracks as .wav files.

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Setting up Matrox RS-422 device control

Matrox RS-422 device control lets you control any device that supports the
RS-422 SMPTE time code protocol when capturing or exporting material to tape
in Adobe Premiere Pro. To use this device control, you must use an RS-232 to
RS-422 adapter cable to connect the serial device control port on your source
device or recorder to the serial port on your computer.
° To configure your RS-422 device control settings:
1 Choose Edit > Preferences > Device Control.
2 From the Devices list, select Matrox RS-422 Device Control.
3 Click Options to display the following dialog box:

4 From the Port list, select the COM port on your computer to which you’ve
connected your device.
5 From the Time Source list, select the time source to be used for controlling
your device:
$ LTC Longitudinal Time Code recorded on a track adjacent to the video
(this is the default time source). This type of time code can be read at all
tape speeds, except still.
$ VITC Vertical Interval Time Code that is recorded onto the vertical
blanking interval of the video. This type of time code can be read
whenever an image is displayed, but not usually during high-speed
operation.
$ LTC+VITC Select this if you want your device to decide which type of
time code to use in different operational modes. You should select this
option only if you’re sure that the two types of time code match on your
tape.
$ Control Track Select this if you want to use only your tape’s control
track as the time source. Because using the control track is not as reliable

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100

as LTC or VITC for device control, you should select this option only if
you’re having problems using the time code on your tape.
6 From the Time Base list, select the time base that matches your tape, such as
30 fps Drop Frame if you’re using NTSC video with drop frame time code,
or 25 fps if you’re using PAL video.
7 Beside Time Code Offset, specify the number of frames to adjust the start
time for capture and export to tape, if needed. For example, if capture and
export to tape are starting three frames too early (that is, three frames before
your specified In point), enter a time code offset of 3. Alternately, if capture
and export to tape are starting three frames too late, enter a time code offset
of -3. For an example of how to calibrate your device for frame-accurate
export to tape, see “Obtaining a frame-accurate export to tape using Matrox
RS-422 device control” on page 104.
8 Select Use VTR’s internal cue if the Matrox RS-422 device control is
having problems cueing your VTR, such as when you cue to a specific In or
Out point. Because using the VTR’s internal cueing method slows down the
cueing, you should select this option only you’re experiencing problems
cueing to a time code when using RS-422 device control.
9 Click OK to save your settings.
For details on capturing with device control, see your Adobe Premiere Pro
documentation. For information about exporting your Matrox sequence to tape,
see “Exporting your sequence to tape” on page 101.
Remarks
• You must set your device to Remote or VTR mode.
• When using an analog RS-422 device, you must genlock to an external
broadcast-quality analog sync source. If you’re using an SDI RS-422 device
and you don’t have an external broadcast-quality analog sync source, you
can genlock to your SDI video source for capture. For export to tape, you can
set your genlock source to the Axio internal reference and configure the
setting on your deck to genlock to the SDI video input. For details on how to
set your genlock source, see “Specifying your genlock settings” on page 65.
• You must stripe your tapes with continuous and consecutive time code. You
can stripe your entire tape with time code by recording black video for the
duration of the tape.
• When capturing material, make sure that you don’t specify any preroll or
time code offset value in the Device Control section of the Settings pane.
Instead, a preroll of about five seconds will automatically be applied, and
you must specify any required time code offset in the Matrox RS-422
Device Control Settings dialog box.

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Exporting your sequence to tape

To export your Matrox sequence to tape without using device control, simply
play back your sequence and record the output from any of the available outputs
on your Matrox Axio system. If your recorder supports RS-422 device control,
you can export your sequence to tape using Matrox RS-422 device control as
explained in the next section, “Exporting to tape using Matrox RS-422 device
control.”
To export your Matrox sequence to a DVCPRO HD device over the 1394
interface, you can use Adobe DV/HDV device control as explained in “Exporting
to a DVCPRO HD device using DV-1394 device control” on page 105. To export
to a DV-1394 device other than DVCPRO HD, you must copy or import your
Matrox project into a native Adobe Premiere Pro project and use Adobe
DV/HDV device control as explained in your Adobe Premiere Pro
documentation.
Remarks
• To avoid repeated or missing frames when performing an export to tape with
device control, add about five seconds of black video or color bars to the
start of your sequence.
• To avoid having discontinuous (broken) time code recorded onto your tape,
set your recorder to generate time code internally based on time code already
present on the tape (this setting is called INT REGEN on some devices).
Don’t use free run or external time code regeneration mode.
• To avoid problems when exporting your sequence to tape, make sure that
your project’s auto-save feature is turned off. To do this, choose Edit >
Preferences > Auto Save and make sure that Automatically save
projects is not selected. Once your export is complete, you can turn the
auto-save feature back on.

Exporting to tape using Matrox RS-422 device

control
With Matrox RS-422 device control, you can perform either an insert or assemble
edit to record your Matrox sequence onto tape as follows:
1 Open your project, activate the Matrox sequence that you want to export to
tape, and position the work area bar over the section of the sequence that you
want to export.
2 If you haven’t already done so, play back your sequence and render any
non-realtime sections that are identified with a red render bar.
3 Make sure that you’ve properly connected your recorder and configured
Matrox RS-422 device control as explained in “Setting up Matrox RS-422
device control” on page 99.

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102

4 Load a striped recordable tape into your recorder, and set your recorder to
Remote or VTR mode.
5 Choose File > Export > Tape to display the following dialog box:

6 To review or change your RS-422 device control settings, click Device

Options . This displays the Matrox RS-422 Device Control Settings
dialog box as explained in “Setting up Matrox RS-422 device control” on
page 99 (except you won’t be able to change the specified port).
7 Under Export to Tape Mode, you can specify the type of export you want
to perform and the tracks you want to be recorded:
$ Assemble Records all tracks (video and audio) sequentially onto the
tape. The control track and previously recorded material on the tape will
be replaced with the material recorded from your sequence.
$ Insert Records selected tracks (video and/or audio), without affecting
the control track. This lets you perform a video or audio dub. For

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example, you can choose to record only video, only selected audio tracks,
or video and selected audio tracks from your sequence.
¦ Note Check your device’s documentation to determine its recording
capabilities for assemble and insert editing. Some recorders may not support
insert editing.
8 Use the transport controls to play back your tape. The current time code of
your tape appears in the text box above the transport controls. You can also
use the J, K, and L shortcut keys to control the shuttle. Press J to shuttle left,
L to shuttle right, and K to stop. Pressing J or L multiple times increases the
speed of the shuttling.
9 Specify where you want the recording to start and stop on your tape as
follows:
$ Click the Set In Point button ( ) to specify where you want the
recording to start, or enter the required time code in the In box.
$ Click the Set Out Point button ( ) to specify where you want the
recording to stop, or enter the required time code in the Out box.
Alternately, you can select Duration and enter the duration you want for
the recording. The Out point will then be calculated for you. By default,
the duration is set to the duration of the work area. You can click Reset at
any time to set the duration back to the duration of the work area.
¦ Note When Out is selected, the duration is calculated based on your
selected In and Out points. When Duration is selected, the Out point is
calculated based on your specified In point and duration.
10 If needed, enter the number of frames to offset the playback of your
sequence beside Playback Offset. For example, if the playback starts too
late and you’re missing the first three frames of your sequence recorded on
the tape, enter an offset of -3. If the playback starts too early and the first
three frames of your sequence are repeated, enter an offset of 3.
¡ Important Before adjusting the Playback Offset, you should first make
any required adjustment to the Time Code Offset for your device as
specified in the device control settings. For an example of how to calibrate
your device for frame-accurate export to tape, see “Obtaining a
frame-accurate export to tape using Matrox RS-422 device control” on
page 104.
11 Click Export to start the export to tape.

Exporting your sequence to tape

104

Obtaining a frame-accurate export to tape

using Matrox RS-422 device control
In order to obtain a frame-accurate export to tape when using Matrox RS-422
device control, there are two different settings that you may need to adjust:
• The Time Code Offset in the Matrox RS-422 Device Control Settings
dialog box determines when your device starts recording on the tape. If the
recording doesn’t start on the tape at your specified In point, you can adjust
this offset so that the recording starts earlier or later.
• The Playback Offset in the Matrox RS-422 Export to Tape dialog box
determines when your sequence starts playing back. Depending on your
system, you may need to adjust this offset so that your sequence starts
playing back earlier or later.
Here’s an example of how to calibrate your RS-422 device for frame-accurate
export to tape:
1 Stripe an NTSC tape with continuous and consecutive time code starting at
00:00:00:00.
2 Create a new Matrox NTSC sequence with a bars and tone clip about ten
seconds long containing time code starting at 00:00:00:00. Make sure you
place the clip at the start of your sequence.
¥ Tip You can create a bars and tone clip by right-clicking in the Project
panel and choosing New Item > Bars and Tone. You can add time code to
the clip by applying a Timecode effect as explained in your Adobe Premiere
Pro documentation.
3 Set up Matrox RS-422 device control with the Time Code Offset set to 0
(see “Setting up Matrox RS-422 device control” on page 99).
4 Export your sequence to tape and set the In point for the recording to
00:00:10:00 and the Playback Offset to 0 (see “Exporting to tape using
Matrox RS-422 device control” on page 101).
5 When the export to tape is finished, play back your tape and check where the
recording started. For example, if the bars and tone clip started recording at
00:00:09:25 on your tape (five frames before your specified In point), then
you need to set the Time Code Offset to 5. Alternately, if the recording
started at 00:00:10:05 (five frames after your specified In point), then you
need to set the Time Code Offset to -5.
6 Make any required adjustment to the Time Code Offset in the Matrox
RS-422 Device Control Settings dialog box, and perform another export
to tape with the In point for the recording set to 00:00:30:00 and the
Playback Offset set to 0.
7 When the export to tape is finished, go to 00:00:30:00 on your tape (the
recording should have started at that time code), and check which frame

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from your sequence has been recorded. You should see frame 00:00:00:00
from your bars and tone clip at 00:00:30:00 on your tape, with no repeated
frames. For example, if frame 00:00:00:00 has been repeated for the next
five frames, then your sequence started playing back five frames too early
and you need to set the Playback Offset to 5. Alternately, if you see frame
00:00:00:05 from your bars and tone clip recorded at 00:00:30:00, then the
sequence playback started five frames too late and you need to set the
Playback Offset to -5.

Exporting to a DVCPRO HD device using

DV-1394 device control
When working with a Matrox 1080i @ 25 fps, 29.97 fps, or 720p @ 59.94 fps
sequence, you can choose to export your sequence to a DVCPRO HD device over
the 1394 interface using Adobe DV/HDV device control.
¡ Important To export a 720p @ 23.98 fps, 29.97 fps, or 59.94 fps sequence to a
DVCPRO HD device over the 1394 interface, you must first export your
sequence to a Matrox .avi file using the Matrox DVCPRO HD codec in 720p @
59.94 fps format, import your Matrox .avi file to a new 720p @ 59.94 fps
sequence, and then export your sequence to tape. DV-1394 export to DVCPRO
HD is not supported for any other 720p format. For more information, see
“Preparing a 720p sequence for export to a DVCPRO HD device” on page 106.
° To export your sequence to tape over the 1394 interface:
1 Open the project and activate the sequence you want to export to tape.
2 If you’re exporting a 1080i @ 25 fps or 29.97 fps sequence, play back your
sequence and render any non-realtime sections that are identified with a red
render bar using the Matrox DVCPRO HD codec (see “Defining your video
preview settings” on page 76).
3 Make sure your DV-1394 device is properly connected and turned on, and
that you’ve enabled the DV-1394 output for export to tape as explained in
“Selecting your DV-1394 output settings” on page 75.
4 If you’re using a camcorder, switch it to VTR mode.
5 Load a striped recordable tape into your DV-1394 device.
6 Make sure that you’ve set up Adobe DV/HDV device control as explained in
your Adobe Premiere Pro documentation.
7 Choose File > Export > Export to Tape.
For information about exporting your sequence to tape using Adobe Premiere
Pro, see your Adobe Premiere Pro documentation.

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106

Preparing a 720p sequence for export to a DVCPRO HD

device
In order to export a Matrox 720p @ 23.98 fps, 29.97 fps, or 59.94 fps sequence to
a DVCPRO HD device over the 1394 interface, you must first export your
sequence to a Matrox .avi file using the Matrox DVCPRO HD codec in 720p @
59.94 fps format as follows:
1 Activate the Matrox sequence that you want to export, and choose File >
Export > Media to open the Export Settings dialog box.
2 From the Format list, select Matrox AVI (for PTT only).
3 The Preset will be set to Matrox 720p @ 59.94 fps. Appropriate export
settings are automatically applied, and the codec is set to Matrox DVCPRO
HD (no configuration settings are required).
4 Click Export to start your export.
Once the export has finished, create a new Matrox 720p @ 59.94 fps sequence,
import your Matrox .avi file, and place it on the timeline. You can now export the
new sequence to tape as explained in “Exporting to a DVCPRO HD device using
DV-1394 device control” on page 105.

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Creating an SD project in 16:9 format

When editing on Matrox Axio, you can choose to work with SD source video
that’s been recorded in either the 4:3 standard TV screen format, or the
widescreen 16:9 format.
° To create an SD project in 16:9 format on Matrox Axio, do the following:
1 Record your video onto tape with your camera set to the widescreen 16:9
format. The video will be recorded as horizontally compressed 4:3
(anamorphic) video.
2 Start Adobe Premiere Pro and create a new Matrox project using the
appropriate Matrox widescreen preset, such as NTSC widescreen, for your
sequence (see “Creating a new Matrox project” on page 52). This ensures
that the effects you create on Matrox Axio will be displayed with the correct
proportions when viewed in 16:9 format.
3 Capture your video clips as you normally would. Select the 16:9 display
option on your NTSC or PAL video monitor to “unsquish” the video and
play it back in widescreen format without distortion.
4 If you create animations, titles, or graphics for your project using a program
that lets you set the pixel aspect ratio, use the appropriate setting for 16:9
display:
$ For NTSC or 486p video, set the pixel aspect ratio to 1.185.
$ For PAL or 576p video, set the pixel aspect ratio to 1.422.
If you can’t set the pixel aspect ratio, create your image at 864×486 for
NTSC or 486p video, or at 1024×576 for PAL or 576p video. After you’ve
created your image, resize only its width to 720. When you resize the image,
your text or graphic will appear elongated on your computer screen.
5 Edit your project as you would a standard 4:3 project.
¦ Note Be aware that if your video monitor is displaying in 4:3 format, certain
effects may appear elongated because of the horizontal scaling. Setting your
monitor to 16:9 will display the effects with the correct proportions.
6 Record your finished project onto tape. Remember that you’ll need a
monitor capable of displaying material in 16:9 format to properly view your
master tape.

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108

Your notes

Chapter 7, Defining Your Adobe Premiere Pro Settings

 8
Setting Up Realtime Effects with Adobe
Premiere Pro
This chapter explains how to
set up realtime Matrox effects
such as color corrections and
wipes using the Matrox
realtime plug-in for Adobe
Premiere Pro.
110

Available effects
The Matrox realtime plug-in for Adobe Premiere Pro lets you set up the
following realtime1 Matrox effects in your Matrox projects2:
• Color corrections.
• Chroma key and luma key effects.
• Chroma clamper effect.
• Wipes.
The following Adobe effects are also accelerated for realtime playback:
• Black and white.
• Crop.
• Timecode.
• Motion.
• Video opacity (fades).
• Additive dissolve, cross dissolve, dip to black, and dip to white transitions.
• Speed changes.
• Graphics overlays using single-frame graphics files with an alpha-key
channel.
When you install Matrox Mtx.utils, all the Matrox effects are added to Adobe
Premiere Pro. You set up Matrox effects in your projects the same way as other
effects included with your Adobe software. For example, you apply a Matrox
wipe to your clips in Adobe Premiere Pro just as you would any other type of
transition, except that the controls provided let you create a Matrox wipe, as
explained in this chapter. For instructions on setting up Adobe Premiere Pro
effects and transitions, refer to your Adobe documentation.
¥ Tip You can filter the Effects panel to show only the effects and transitions that
are accelerated by your Matrox hardware by clicking the button at the top of
the Effects panel.

1
Applying certain Adobe Premiere Pro settings to your clips may require you to render
your effects, such as when you apply Field Options, Frame Hold, or Interpret Footage
settings.
2
The Matrox color correction, chroma key, luma key, and chroma clamper effects are
also available in Adobe After Effects.

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How to apply a Matrox video effect in Adobe

Premiere Pro
The Matrox plug-in for Adobe Premiere Pro allows you to apply several Matrox
video effects to your clips. To apply a Matrox video effect, drag the desired effect
from the Effects panel onto the clip in the Timeline panel.
By default, the Matrox video effects are found in the Matrox bin under Video
Effects.
¥ Tips
• You can also apply preconfigured Matrox video effects found in the Matrox
Effect Presets bin under Presets.
• If you can’t see the Effects panel, choose Window > Effects. If you can’t
see the Effect Controls panel, choose Window > Effect Controls.

How to apply a Matrox video transition in

Adobe Premiere Pro
In Adobe Premiere Pro, the Matrox wipe transitions are found in the Matrox bin
under Video Transitions in the Effects panel.
There are numerous methods to create transitions in Premiere Pro. Use the
method that works best for you to apply your Matrox wipes. For information on
applying transitions, see your Adobe Premiere Pro documentation.

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Applying a mask to your Matrox effects

The Matrox color correction, chroma key, and luma key effects allow you to add
a mask to define the area where you want to apply your effect. For example, you
may want to apply a color correction to only one area of your clip and leave the
rest of the clip untouched.
° To adjust the mask properties:
Click the triangle next to Mask to expand the property list.

The properties under Mask let you control the area on the clip where you want to
apply the mask. You can enter the values you want in the text boxes or drag the
appropriate sliders ( Left, Right, Top, and Bottom ).
• Left Adjusts the left edge of your mask.
• Right Adjusts the right edge of your mask.
• Top Adjusts the top edge of your mask.
• Bottom Adjusts the bottom edge of your mask.
• Select Mask Displays a dialog box in which you can apply your mask
settings (see “Using Select Mask” on page 113).
• Invert Inverts the mask so that your effect is applied outside the mask,
instead of within the mask.

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Using Select Mask

To apply a mask to your Matrox effect using the Select Mask dialog box, click
the triangle next to the Select property to expand it, then click the Select Mask
button:

The Select Mask dialog box allows you to apply a mask in two ways:
• Click and drag directly in the Select Mask window to create the rectangular
area where you wish to apply the mask.
You can resize the mask area by dragging any side of the rectangle. For ex-
ample, dragging the right side of the rectangle adjusts the right edge of the
mask area. To resize the entire mask area at once, drag one of the corners
(the corner that’s diagonally opposite the corner you are moving will remain
stationary).
• Use the Left, Right, Top, and Bottom controls to adjust any edge of your
mask by a given number of pixels. You can enter values in the text boxes or
drag the sliders to resize your mask area. For example, drag the Left slider to
adjust the left edge of your mask area.

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114

Creating a Matrox primary color correction

Color correction is important for all productions, whether you want to achieve
continuity when cutting between shots, ensure broadcast safe levels, or establish
and emphasize a “look.” Matrox color correction provides basic proc amp
control, three-way color correction complete with master, shadows, midtones,
and highlights control, and input and output level control. You can also easily
match colors with a reference shot. For more information about color matching,
see “Matching colors between two clips” on page 125.
¥ Tip Adobe Premiere Pro includes a workspace setup that is optimized for
working with clips and effects to facilitate color correction. To prepare your
workspace for color correction, choose Window > Workspace > Color
Correction.
° To set up a Matrox primary color correction:
Click the triangle next to Matrox Color Correction (Primary) or Matrox Color
Correction (Primary - Advanced) to expand the property list.

¦ Note The RGB Curves and Tonal Range settings are available only with the
advanced versions of the Matrox primary and secondary color correction effects.
Because the advanced versions of these effects require additional system
resources, you should apply them only if you want to use the RGB Curves or
Tonal Range settings.
• Enable Split View Select this option to split your clip into two sections in
the Program Monitor and on your video monitor. One section will display
your clip as you adjust the color correction controls, and the other section of

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the clip will remain unchanged. For more information, see “Using Split
View” on page 116.
¡ Important This option is for preview only. You should clear it before you
render your clip, otherwise the split will appear in your video output.
• Proc Amps The processing amplifier (proc amp) controls allow you to
adjust different aspects of your clip:
$ Hue Adjusts the tint of the colors in the image.
$ Saturation Adjusts the saturation (vividness) of the image’s colors.
$ Contrast Adjusts the difference in luminance between the lightest and
darkest areas of the image.
$ Brightness Adjusts the level of black in the image.
• RGB Curves Lets you use curves to adjust the red, green, and blue color
channels of your clip individually, or use a master curve to adjust all color
channels simultaneously. For more information, see “Using RGB curves” on
page 118.
• Color Balance These controls let you adjust the mixture of colors in your
clip.
$ Tonal Range Allows you to fine-tune the tonal ranges of your clip by
reducing the range of pixels included for shadows, midtones, or
highlights. For more information, see “Adjusting tonal range” on
page 120.
$ Graphical Allows you to see a graphical representation of your changes
when you adjust the color balance settings. You can also modify most of
the color balance settings directly within the graph. For more information,
see “Using the color balance graph” on page 121.
$ Numerical Lets you adjust your color balance settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
You can adjust the Hue, Saturation, and Luminance for each tonal
range.
• Master (Hue, Saturation, and Luminance) Affects all areas of
your clip from the lightest white to the darkest black.
• Shadows (Hue, Saturation, and Luminance) Affects the darkest
areas of your clip.
• Midtones (Hue , Saturation, and Luminance) Affects the areas
with tones between the darkest and lightest areas of your clip.
• Highlights (Hue, Saturation, and Luminance) Affects the lightest
areas of your clip.
• Luma Mapping

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$ Graphical Allows you to see a graphical representation of your changes

when you adjust the luma mapping settings. You can also modify the
luminance of your clip directly within the graph. For more information,
see “Using the luma mapping graph” on page 127.
$ Numerical Lets you adjust the luma mapping settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
• Input Levels (Black and White) These controls let you fine-tune
your clip’s brightness and contrast by changing the luminance value
that represents black, white, or gray. Doing so expands or compresses
the range of luminance levels in your clip, which increases or decreases
your clip’s tonal range.
For example, by increasing the black value, you set black in your clip
to a higher luminance value, which compresses the luminance range
and darkens your clip proportionally.
• Output Levels (Black and White) These controls let you map the
values under Input Levels to any level of black and white. You can
reduce contrast in your clip, or reverse the luminosity of your clip by
setting black to a higher value than white.
• Gamma Use this to adjust the midtones in your clip without
adjusting black or white.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 112.

Using Split View

The Split View option allows you to split your clip in two for preview on your
Program Monitor and your video monitor. One section displays your clip as you
adjust the color correction controls, while the other section of the clip remains
unchanged.
There are two ways to enable Split View. You can select the Enable Split View
option in the Effect Controls panel, or work directly in Adobe Premiere Pro’s
Program Monitor using your mouse.

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Working with Split View in the Program Monitor

To activate the Split View controls in the Program Monitor, click the Transform
icon ( ) beside the name of the Matrox color correction effect in the Effect
Controls panel. The Split View button will appear in the upper left corner of the
Program Monitor:

Split View button

Enable Split View by clicking the Split View button. You can then drag the
handles on the corners of the split rectangle to define the area you want to split.
You can also drag the split rectangle to move it to a specific region of your clip.
The area within the split view rectangle will display any color correction you
make, while the area outside remains unchanged.
In the following example, the split view rectangle has been moved to display the
color correction in the area surrounding part of the Chinese character on the wall:

Remarks
• The Split View option is for preview only. You should disable it before
rendering your material, otherwise the split will appear in your video output.
• If you enable Split View and create a mask outside the split view rectangle,
you will not be able to see it. The mask will only be visible when you move
the split view rectangle directly over it. If you invert a mask that is not in the
split view rectangle area, the whole clip will be inverted since the mask is
ignored.

Creating a Matrox primary color correction

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Using RGB curves

¦ Note The RGB Curves settings are available only with the advanced versions
of the Matrox primary and secondary color correction effects.
With RGB curves, you can individually adjust the red, green, and blue color
channels across the entire tonal range of your clip, or adjust all three color
channels simultaneously with a master curve. RGB curves allow you to achieve
color effects that would be difficult, if not impossible, to achieve using the Color
Balance settings, and also give you a high degree of control over the color
channels in each tonal range. For example, you can easily add a red, green, or
blue tint to your clip, or use the master curve as a way to adjust the brightness and
contrast of your clip.
Each curve is displayed on a grid with the horizontal axis representing the input
or current pixel value, and the vertical axis representing the output value of the
pixel after the curve adjustment is applied. By default, a curve starts as a straight
line with two end points, one at the bottom left of the grid (shadows), and the
other at the top right of the grid (highlights). Before any adjustments are made,
each point on the curve has the same input and output value.

0 Default end point 1 Default end point

(shadows) (highlights)

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Click the R, G, or B button to select the curve corresponding to the color channel
you want to adjust, or click the Master button for the master curve, and then drag
the curve to obtain your desired effect. For example, click the R button and drag
the top right end point towards the top left of the grid to increase the slope of the
curve and add red to the clip. Drag that same point towards the bottom right of
the grid to decrease the slope of the curve and remove red from the clip. Clicking
the Enable button will show/hide any adjustments you have made to the RGB
channels at any time (you do not need to click Enable to start adjusting the
curves).
¥ Tip For increased precision, hold down the ALT key while you drag the curve,
or the CRTL key to change your cursor into a crosshair that will help you align
your curve to the grid.
You can add up to 14 control points to each curve in addition to the two default
end points. These control points act as anchors that allow you to lock your curve
so adjustments can be applied only to specific tonal ranges. Click on a curve to
add control points, and hold the SHIFT key while clicking a control point to
delete it (end points cannot be deleted). Adjusting the points in the top right area
of the grid affects highlights, the middle area affects midtones, and the bottom
left area affects shadows. For example, the following S-shaped master curve adds
contrast in the midtones range, without creating any completely black or white
areas.

Creating a Matrox primary color correction

120

If you want to reset the Master, R, G, or B curve to its default setting at any time,
click the appropriate Reset button.

Red curve Reset button

¥ Tip By applying a mask to your clip, you can adjust the RGB channels for that
specific area of your clip, or invert the mask to isolate that same area from being
affected by your RGB adjustments.

Adjusting tonal range

¦ Note The Tonal Range settings are available only with the advanced versions
of the Matrox primary and secondary color correction effects.
Using the tonal range curves allows you to fine-tune the range of pixels that are
affected when you make a color correction to the shadows, midtones, or
highlights of your clip using the color balance graph. For more information, see
“Using the color balance graph” on page 121.
The histogram shows the distribution of pixels in each tonal range of your clip. In
the following example, the histogram represents a clip with a high amount of
shadows (left), a lesser amount of midtones (middle), and an even lesser amount
of highlights (right).

0 1 2

0 Shadows 1 Midtones 2 Highlights

Click the Shadows, Midtones, or Highlights button to select the curve
corresponding to the tonal range you want to adjust, and then drag the curve as
desired to reduce the number of pixels to be included in each tonal range.
¦ Note You cannot increase the number of pixels in a tonal range. For example,
you can’t extend the shadows curve into the highlights range.

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Using the color balance graph

The color balance graph allows you to modify the Color Balance settings for
each tonal range directly within the color maps. You can also perform an auto
balance or a color match using the buttons beneath the color maps. For more
information, see “Performing an auto balance” on page 124 and “Matching
colors between two clips” on page 125. Depending on which color map you use,
you can adjust your clip globally, or only the shadows, midtones, or highlights.

You can drag the handle in the center of any color map to adjust the color balance
(Hue and Saturation) for a specific tonal range, such as to adjust the color
balance globally throughout your clip using the Master color map, or adjust the
color balance of only the shadows using the Shadows color map. Drag the
handle toward a color you want to increase in your clip, or away from a color you

Creating a Matrox primary color correction

122

want to decrease. For example, if you move the handle towards red, you also
decrease cyan by the same amount, as shown in the following diagram:

RED MAGENTA

YELLOW BLUE

GREEN CYAN

¥ Tip For increased precision, hold down the ALT key while you drag the handle.
If you want to reset the color balance ( Hue and Saturation) setting, click the
Reset Color Balance button under the color map you are using.

Reset Color
Balance button

To adjust the luminance for a tonal range, drag the corresponding luminance
slider under the appropriate color map. For example, if you want to adjust the

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luminance for only the shadows, drag the luminance slider under the Shadows
color map.

Luminance
slider

Creating a Matrox primary color correction

124

Performing an auto balance

Before matching colors, you can perform an auto balance on your target clip to
automatically apply a color shift to your clip to compensate for different lighting
conditions. To do this, click the Auto Balance button under the corresponding
color map and use the eyedropper to select the area you want to correct in your
clip. For example, to balance your clip’s highlights, click the Auto Balance
button under the Highlights color map, and click (or click and drag) on the
lightest area of your clip. The auto balance is performed immediately.

Auto Balance
button

¦ Note To perform an auto white balance, click the Auto White Balance button
under the Master color map, and click (or click and drag) on a white or light gray
area of your clip.

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Matching colors between two clips

You can perform a color match to match colors between two clips (such as skin
tone, sky, etc.). The color match lets you select colors from a reference clip to
match to your target clip. You can affect the colors globally (Master), or just the
Shadows, Midtones, or Highlights .
You can select the colors for your reference color and match color by either
clicking the Color Picker button or the eyedropper.

Color Picker button Eyedropper

The eyedropper can be used in two ways:

• Click the eyedropper button and click on the desired color in your clip.
• Click the eyedropper button and click and drag anywhere on your clip to
create a rectangular area containing the color you want to select. The
selected color will be an average of the pixel information contained within
the rectangle.
° To perform a color match:
1 Prepare your workspace for color correction by choosing Window >
Workspace > Color Correction.
2 Open your target clip (clip that contains the colors you want to correct) in the
Source Monitor.
¦ Note For best results when using a target clip that has multiple effects
applied to it, create a nested sequence and open it in your Source Monitor
before performing the color match. For more information about creating
nested sequences, see your Adobe Premiere Pro documentation.
3 Apply the Matrox Color Correction effect to your target clip on the
timeline.
4 Use the controls under the Reference Monitor to move to a frame in your
reference clip that contains the colors you want to match.
5 Use the controls under the Source Monitor to go to the frame in your target
clip that contains the colors you want to match to your reference clip.

Creating a Matrox primary color correction

126

6 Select a reference color from your reference clip by using the Reference
Color eyedropper under the color map you want to affect (Master,
Shadows, Midtones, or Highlights ).

Reference Color eyedropper

7 For example, to match a very dark color in your reference clip to your target
clip, click the Reference Color eyedropper under the Shadows color map,
and click (or click and drag) on the desired color in your reference clip.
8 Select a match color from your target clip in the Source Monitor window by
using the Match Color eyedropper under the corresponding color map
(Master, Shadows, Midtones, or Highlights).

Match Color eyedropper

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Using the luma mapping graph

To modify your luma mapping values directly in the graph, click the triangle next
to the Luma Mapping Graphical property to expand it:
• Map This is the default view when you first expand the Graphical
property. You can drag the handles in the graph to adjust the Input and
Output levels for black and white, as well as the Gamma .
3

4
2
0
1

0 Input 1 Input 2 Output 3 Output 4 Gamma

Black White Black White
Level Level Level Level

• Plot Click this button to plot the luminance values in the current frame of
your clip to the histogram (the plot will reflect any color correction changes
you’ve made). Each luminance value present in your image appears as a
vertical line in the histogram. A longer line indicates a higher amount of
pixels in your image of that line’s luminance value. You can drag the handles

Creating a Matrox primary color correction

128

in the graph to adjust the Input and Output levels for black and white, as
well as the Gamma.

4
2
0 1

0 Input 1 Input 2 Output 3 Output 4 Gamma

Black White Black White
Level Level Level Level

• Auto Black Click this to define the darkest pixels in your clip as black.
The intermediate luminance values are proportionally redistributed.
• Auto White Click this to define the lightest pixels in your clip as white.
The intermediate luminance values are proportionally redistributed.
¦ Note If you want to restore the default luminance values at any time, click
the Restore Default Values button.

Restore
Default Values
button

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Creating a Matrox secondary color correction

Matrox secondary color correction offers all the properties found in Matrox
primary color correction, with the added capability of limiting the color
correction to a specific range of pixels using the selective key properties. For
example, secondary color correction can be used to change the color of a dress,
deepen the background sky color, or to achieve an effect where only one object or
person remains in color while the rest of the image becomes black and white. For
details on how to isolate a color and make the rest of the clip black and white, see
“Creating a color pass effect” on page 138.
¥ Tip Adobe Premiere Pro includes a workspace setup that is optimized for
working with clips and effects to facilitate color correction. To prepare your
workspace for color correction, choose Window > Workspace > Color
Correction.
° To set up a Matrox secondary color correction:
Click the triangle next to Matrox Color Correction (Secondary) or Matrox
Color Correction (Secondary - Advanced) to expand the property list.

¦ Note The RGB Curves and Tonal Range settings are available only with the
advanced versions of the Matrox primary and secondary color correction effects.
Because the advanced versions of these effects require additional system
resources, you should apply them only if you want to use the RGB Curves or
Tonal Range settings.

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130

• Enable Split View Select this option to split your clip into two sections in
the Program Monitor and on your video monitor. One section will display
your clip as you adjust the color correction controls, and the other section of
the clip will remain unchanged. For more information, see “Using Split
View” on page 116.
• Proc Amps The processing amplifier (proc amp) controls allow you to
adjust different aspects of your clip:
$ Hue Adjusts the tint of the colors in the image.
$ Saturation Adjusts the saturation (vividness) of the image’s colors.
$ Contrast Adjusts the difference in luminance between the lightest and
darkest areas of the image.
$ Brightness Adjusts the level of black in the image.
• RGB Curves Lets you use curves to adjust the red, green, and blue color
channels of your clip individually, or use a master curve to adjust all color
channels simultaneously. For more information, see “Using RGB curves” on
page 118.
• Color Balance These controls let you adjust the mixture of colors in your
clip.
$ Tonal Range Allows you to fine-tune the tonal ranges of your clip by
reducing the range of pixels included for shadows, midtones, or
highlights. For more information, see “Adjusting tonal range” on
page 120.
$ Graphical Allows you to see a graphical representation of your changes
when you adjust the color balance settings. You can also adjust and
modify most of the color balance settings directly within the graph. For
more information, see “Using the color balance graph” on page 121.
$ Numerical Lets you adjust your color balance settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
You can adjust the Hue, Saturation, and Luminance for each tonal
range.
• Master (Hue, Saturation, and Luminance) Affects all areas of
your clip from the lightest white to the darkest black.
• Shadows (Hue, Saturation, and Luminance) Affects the darkest
areas of your clip.
• Midtones (Hue , Saturation, and Luminance) Affects the areas
with tones between the darkest and lightest areas of your clip.
• Highlights (Hue, Saturation, and Luminance) Affects the lightest
areas of your clip.
• Luma Mapping

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$ Graphical Allows you to see a graphical representation of your changes

when you adjust the luma mapping settings. You can also modify the
luminance of your clip directly within the graph. For more information,
see “Using the luma mapping graph” on page 127.
$ Numerical Lets you adjust your luma mapping settings numerically by
entering values in the text boxes, or by dragging the corresponding sliders.
• Input Levels (Black and White) These controls let you fine-tune
your clip’s brightness and contrast by changing the luminance value
that represents black, white, or gray. Doing so expands or compresses
the range of luminance levels in your clip, which increases or decreases
your clip’s tonal range.
For example, by increasing the black value, you set black in your clip
to a higher luminance value, which compresses the luminance range
and darkens your clip proportionally.
• Output Levels (Black and White) These controls let you map the
values under Input Levels to any level of black and white. You can
reduce contrast in your clip, or reverse the luminosity of your clip by
setting black to a higher value than white.
• Gamma Use this to adjust the midtones in your clip without
adjusting black or white.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 112.
• Selective Key The selective key settings allow you to apply the color
correction effect to a specific range of pixels in your clip. Performing a
selective key is similar to performing a chroma or luma key, however, with a
selective key you are applying color correction to the keyed area instead of
transparency. For example, if you use the selective key properties to select
red as your Hue color, the color correction will be applied to the red regions
in your clip. You can enable each keyer (Hue, Saturation, and Luma)
individually, or enable all three at the same time to get the desired results.
$ Graphical Allows you to see a graphical representation of your changes
when you adjust the selective key Numerical settings. You can also
modify the settings directly within the graph and perform an auto key. For
more information, see “Using the selective key graph” on page 134.
$ Numerical Lets you adjust your key settings numerically by entering
values in the text boxes, or by dragging the corresponding sliders.
• Hue Key This type of key lets you select areas to be keyed (affected
by the color correction) based on their hue.
$ Enable Select this to enable the Hue Key properties and hue key
indicator in the selective key graph.

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$ Hue Use this to rotate the indicator around the perimeter of the color
spectrum so that you can select different hues (colors) on which to key.
$ Aperture Use this to widen or narrow the aperture of the indicator
to increase or decrease the range of colors on which you want to key.
$ Softness Sets the amount of softness applied to the range of colors
specified in the aperture region.
• Saturation Key This lets you select colors to be keyed (affected by
the color correction) based on their saturation value. Pale colors have a
low saturation value, while vivid colors have a high saturation value.
$ Enable Select this to enable the Saturation Key properties and
saturation key indicator in the selective key graph.
$ Low Clip Use this to select the lower saturation values to be keyed.
$ Low Gain Use this to set the range of saturation values you want
to be partially affected based on the value set by the Low Clip control.
As you increase the Low Gain setting, more pixels are partially
affected by the color correction. If you decrease the Low Gain control,
less pixels are partially affected.
A Low Gain setting of 100 provides the widest range for maximum
color correction. Alternately, a gain setting of 0 creates a key where
saturation values are either completely affected or left untouched. You
can think of the Low Gain control as defining an “Affected to
Untouched” range for keying the pale colors in your image.
$ High Gain This control is similar to the Low Gain setting, except
you use it to set the range of higher saturation values you want to be
partially affected based on the value set by the High Clip control. As
you increase the High Gain setting, less pixels are partially affected
by the color correction. If you decrease the High Gain setting, more
pixels are partially affected. You can think of the High Gain control
as defining an “Untouched to Affected” range for keying the vivid
colors of your image.
$ High Clip This control is similar to Low Gain, except you use it to
select the higher saturation values to be keyed.
¦ Note The values you can select using the Low Clip and Low Gain
controls are dependent on the High Clip and High Gain controls, and
vice versa. This prevents the low and high controls from keying on
the same values.

• Luma Key This type of key lets you select areas to be keyed (affected
by the color correction) based on their luminance value.
$ Enable Select this to enable the Luma Key properties and luma key
indicator in the selective key graph.

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$ Low Clip Use this to select the lower (darker) luminance values to
be keyed. A Low Clip setting of 0 represents black, and a setting of
255 represents white. Intermediate settings represent different shades
of gray, from very dark to very light gray.
$ Low Gain Use this to set the range of luminance values you want
to be partially affected based on the value set by the Low Clip control.
As you increase the Low Gain setting, more luminance values
become partially affected by the color correction.
A Low Gain setting of 100 provides the widest range for maximum
color correction. Alternately, a gain setting of 0 creates a key where
the luminance values are either completely affected or left untouched.
You can think of the Low Gain control as defining an “Affected to
Untouched” range for keying the dark areas of your image.
$ High Gain This control is similar to Low Gain, except you use it
to set the range of luminance values you want to be partially affected
based on the value set by the High Clip control. You can think of the
High Gain control as defining an “Untouched to Affected” range for
keying the lighter areas of your image.
$ High Clip This control is similar to Low Clip , except you use it to
select the higher (brighter) luminance values to be keyed.
¦ Note The values you can select using the Low Clip and Low Gain
controls are dependent on the High Clip and High Gain controls, and
vice versa. This prevents the low and high controls from keying on
the same luminance values.

• Invert Key Select this to invert the key selection, giving you the
opposite result of what you originally selected.
• Show Key as Output Select this to display the matte used to define
your selective key region. This enables you to further refine your key.
Areas that are completely affected by the color correction are white,
untouched areas are black, and gray areas are partially affected.
• Expand Outside Mask Applies the color correction settings outside
the mask area. This setting is especially useful when setting up a color
pass effect where you have several objects of the same color but want to
retain the color for only one object. For more information, see
“Creating a color pass effect” on page 138.

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Using the selective key graph

The selective key graph allows you to modify your selective key settings ( Hue
Key, Saturation Key, and Luma Key) directly in the graph. You can also
perform an auto key.
• Map This is the default view when you first expand the graphical property.
You can drag the handles to move the indicator to different regions in the
graph to adjust the Hue Key, Saturation Key, and Luma Key settings.

In order to see the indicator and handles, you have to enable the key setting you
want to use. For example, if you want to adjust the Hue Key properties, you need
to click the Hue button in the selective key graph or select the Enable option in
the Hue Key numerical properties. In the following graph, the Hue properties
have been enabled.

• Plot Click this button to plot the colors and luminance values that are
present in the current frame of your clip. You can drag the handles to move
the indicator to different regions in the graph to adjust the Hue Key,
Saturation Key, and Luma Key properties. The luma plot histogram shows

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each luminance value present in your image as a vertical line. A longer line
indicates a higher amount of pixels in your image of that line’s luminance
value.

• Hue Click this button to enable or disable the Hue Key properties ( Hue,
Aperture and Softness). When enabled you will be able to see the Hue
Key indicator and handles to modify the Hue Key properties in the selective
key graph.

2
1
0
1
2

0 Hue 1 Aperture 2 Softness

• Sat Click this button to enable or disable the Saturation Key properties
(Low Clip , Low Gain, High Gain, and High Clip). When enabled you will

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be able to see the Sat Key indicator and handles to modify the Saturation
Key properties in the selective key graph.

0123

0 Low Clip 1 Low Gain 2 High Gain 3 High Clip

• Lum Click this button to enable or disable the Luma Key properties (Low
Clip , Low Gain, High Gain , and High Clip). When enabled you will be
able to see the Lum Key indicator and handles to modify the Luma Key
properties in the selective key graph.

1 2
0 3
0 Low Clip 1 Low Gain 2 High Gain 3 High Clip
• For both the Saturation Key and Luma Key properties, you can lock and
move all the handles at the same time in the selective key graph by pressing
SHIFT and then dragging any handle. If you press CTRL you can lock and
move either the Low Clip and Low Gain handles or High Gain and High
Clip handles.

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¦ Note If you want to reset the hue, saturation, and luma key properties to the
default settings at any time, click the appropriate Reset button.
Saturation Key
Reset button

• Show Key Click this button to display the matte used to define your
selective key region. This enables you to further refine your key. Areas that
are completely affected by the color correction are white, untouched areas
are black, and gray areas are partially affected.
• Auto Key Click this button to automatically key on the most common
color at the current frame (except gray). Selecting Auto Key affects values
for the Hue Key, Saturation Key, and the Luma key properties.
Alternately, you can use the auto key eyedropper to select a color on which
you want to key.

Auto key
eyedropper
• The auto key eyedropper can be used in two ways:
$ Click the eyedropper button and click on a color on which you want to
key.
$ Click the eyedropper button and click and drag anywhere on your clip to
create a rectangular area containing the color on which you want to key.
The selected color will be an average of the pixel information contained
within the rectangle.
You can further refine your auto key color by using the plus and minus eye-
droppers.

Plus and minus

eyedroppers

For example, if you selected light red as your auto key color and would like a
dark red color in your clip to be included in the auto key, you can use the
plus eyedropper to select that dark red in your clip. To remove colors from
your auto key, use the minus eyedropper.
¦ Note The Show Key mode and any color correction applied will be
temporarily deactivated in the Program Monitor when using an eyedropper.

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This allows you to see the original colors of your clip before any modifications
were made.
• Indicator Click this button to turn the indicator lines on or off.
• Handles Click this button to turn the handles for the indicator lines on or
off.

Creating a color pass effect

You can use the Matrox secondary color correction to create a color pass effect to
convert your clip to black and white, with the exception of one specified color.
This can be useful if you want to isolate a single color to make it prominent.
In the following example, the pink color of the girl’s shirt has been retained,
while the rest of the clip has been converted to black and white:

Pink shirt is isolated,

while the rest of clip is
grayscale.

° To perform a color pass effect:

1 Click the Auto Key eyedropper in the selective key graph and click and drag
anywhere on your clip to create a rectangular area containing the color you
want to isolate.
2 Under Proc Amps, set the Saturation to 0.
3 Select Invert Key.
If you have more than one object of the same color but you want to isolate only
one of those objects, you can apply a mask and use the Expand Outside Mask
option to isolate the area that contains the color you want to remain intact. For
example, if you have a clip that has two roses that are the same red and you
would like only one of them to remain red, you can do the following.
° To perform a color pass effect using the Expand Outside Mask option:
1 Click the auto key eyedropper in the selective key graph and click and drag
anywhere on your clip to create a rectangular area containing the color you
want to isolate.
2 Under Proc Amps set the Saturation to 0.
3 Select Invert Key.

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4 Apply a mask surrounding the colored object you want to remain intact (see
the next section, “Applying a mask to your Matrox effects).
5 Select Expand Outside Mask.

Overview of the Matrox chroma key effects

You can apply a Matrox chroma key or chroma key shadow effect to make certain
areas of a foreground image transparent based on a color in that image, so that an
underlying image can show through.
In the following example of a chroma key effect, our foreground image is a video
clip of a woman sitting in front of a green backdrop, and our underlying image is
a video clip of a sand dune:

Foreground image Underlying image

By chroma keying on the particular shade of green in the backdrop of the

foreground image, the backdrop area becomes transparent and the corresponding
area of the underlying image shows through in the composite image as follows:

Result of chroma key

¡ Important The chroma key shadow effect includes controls for fine-tuning
shadows in your effect. It is best to use the chroma key shadow effect when you
are performing a chroma key without any additional effects. If you want to apply

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additional effects to your chroma key, you will get more desirable results by
using the chroma key effect without shadow controls. For example, if you want to
apply an Adobe Motion effect to your chroma key, you should use the chroma
key effect and not the chroma key shadow effect.

Creating a chroma key or chroma key shadow

effect
To set up a Matrox chroma key or chroma key shadow effect, click the triangle
next to Matrox Chroma Key/Matrox Chroma Key Shadow to expand the
property list:

• Graphical Provides a graphical representation of the chroma key controls

that you can use to select your key colors, and also lets you perform an auto
key.
$ Map Lets you select your key colors within a circular graph that
contains a color spectrum.
$ Plot Displays a plot of the colors present in your clip so that you can
select the particular colors on which you want to key.

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$ Show Key Click this button to display the matte used to create your key
effect. This enables you to further refine your key. For example, when you
display the matte, your key color (such as green) appears as black, and
opaque areas appear as white. If you notice some white spots that you
want to key, you can adjust the key controls until the undesired white
spots disappear.
$ Auto Key Click this button to automatically key on the most common
color at the current frame in your clip (except gray).
For details on selecting key colors within the graph or performing an auto
key, see “Using the chroma key graph to modify key colors and perform an
auto key” on page 143.
¦ Note You must expand the Graphical property in order to see the indicator
when adjusting the chroma key controls.
• Hue Use this to rotate the indicator around the perimeter of the color
spectrum so that you can select different hues (colors) on which to key.
• Aperture Use this to widen or narrow the aperture of the indicator to
increase or decrease the range of colors on which you want to key.
• Saturation Use this to select colors that have a particular saturation value.
Pale colors have a low saturation value and are located at or near the center
of the spectrum. Vivid colors have a high saturation value and are located at
or near the perimeter of the spectrum. Because pale colors have low
saturation, you’ll find them more difficult to key on than the vivid colors.
• Saturation Threshold Use this to proportionally increase or decrease the
region outside of your saturation range. This controls how closely the
Saturation value must match the key color before a region becomes
transparent.
For example, after applying a chroma key effect to a foreground image that
includes dark areas or shadows that you want to preserve in your effect, you
may find that these areas have become semi-transparent. By adjusting the
Saturation Threshold , you can eliminate the key color from these dark
areas, so that they’ll become completely opaque.
• Softness Use this to soften the edges of your key by blending parts of
your foreground image with your underlying image. This makes certain
areas of your foreground image partially transparent instead of completely
transparent or opaque.
• Spill Removal Use this to remove the contamination (spill) that your key
color may leave on or around the edges of your foreground image. Spill is
usually caused by light reflecting from your solid color backdrop (key color)
onto your foreground image. Spill Removal replaces your key color from
the “spill areas” with the opposite color in the spectrum, which returns a
more natural look to these areas.

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• Chroma Suppression Use this to remove any tint that your key color
imposes on your foreground image. For example, if your solid color
backdrop (key color) is green and you are using a person in your foreground
image, the person’s skin may have a green tint. You can adjust the Chroma
Suppression to replace the green tint with the opposite color in the
spectrum to return the person’s skin to a more natural-looking color.
¦ Note The following properties ( Luminance and Shadow Suppression)
are only available in the chroma key shadow effect.
• Luminance Use this to adjust the luminance of your shadow. Negative
values increase the brightness of the shadow, while positive values decrease
the brightness.
• Shadow Suppression Use this to make shadows in your clips less
apparent. A higher value indicates less shadow.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 112.
• Transparent Outside Mask Select this option to apply transparency
outside the mask area. This allows you to define a mask area where you want
the keying to be performed, and show only your underlying image outside
the mask. For more information, see “Applying a mask to your Matrox
effects” on page 112.
• Invert Key Select this to invert the key selection, giving you the opposite
result of what you originally selected.
• Show Key as Output Select this to display the matte used to create your
key effect. This enables you to further refine your key. For example, when
you display the matte, your key color (such as green) appears as black, and
opaque areas appear as white. If you notice some white spots that you want
to key, you can adjust the key controls until the undesired white spots
disappear.

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Using the chroma key graph to modify key

colors and perform an auto key
To modify your key colors directly within the chroma key graph or perform an
auto key, click the triangle next to the Graphical property to expand it:
• Map This is the default view when you first expand the Graphical
property. You can drag the handles in the color spectrum to move the
indicator to different regions in the cube to adjust the Hue, Aperture,
Saturation , and Saturation Threshold.

2 1 0

3
4

0 Hue 1 Saturation 2 Saturation 3 Aperture 4 Luminance

Threshold

¦ Note This graph will contain a luminance spectrum only if you are creating a
chroma key shadow effect. You can drag the handle in the luminance spectrum to
adjust the Luminance.
• Plot Click this button to plot the colors and luminance values that are
present in the current frame of your clip. You can drag the handles in the
chroma plot graph to move the indicator to different regions in the graph to
adjust the Hue, Aperture, Saturation, and Saturation Threshold . The
luma plot histogram shows each luminance value present in your image as a

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vertical line. A longer line indicates a higher amount of pixels in your image
of that line’s luminance value.

2 1 0

3
4
¦ Note The Plot graph will contain a luma plot histogram only if you are
creating a chroma key shadow effect. You can drag the handle in the luma plot
histogram to adjust the Luminance .

0 Hue 1 Saturation 2 Saturation 3 Aperture 4 Luminance

Threshold

• Show Key Click this button to display the matte used to create your key
effect. This enables you to further refine your key. For example, when you
display the matte, your key color (such as green) appears as black, and
opaque areas appear as white. If you notice some white spots that you want
to key, you can adjust the key controls until the undesired white spots
disappear.
• Auto Key Click this button to automatically key on the most common
color at the current frame (except gray). Selecting Auto Key affects values
for Hue, Aperture, Saturation, and Saturation Threshold . If your clip
consists of a uniform key color that is evenly lighted, Auto Key will usually
give you a good-quality chroma key. Alternately, you can use the eyedropper
to select a color on which you want to key.
eyedropper

You can use the eyedropper in two ways:

$ Click the eyedropper button and click on a color on which you want to
key.

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$ Click the eyedropper button and click and drag anywhere on your clip to
select a rectangular area containing colors on which you want to key.
¦ Note The Show Key mode and any chroma key applied will be temporarily
deactivated in the Program Monitor when using the auto key eyedropper. This
allows you to see the original colors of your clip before any modifications
were made.
• Indicator Click this button to turn the indicator on or off.
• Handles Click this button to turn the handles for the indicator on or off.

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Overview of the Matrox luma key effect

You can apply a Matrox luma key to make certain areas of a foreground image
transparent based on the luminance in that image, so that an underlying image
can show through.
In the following example of a luma key effect, two video clips are combined to
produce the effect of two cowboys riding through fire. Our foreground image is a
video clip of a ring of fire against a black background, and our underlying image
is a video clip of two men riding horses:

Foreground image Underlying image

By luma keying on the particular luminance (brightness) of the black areas in the
foreground clip, these areas become transparent and the corresponding areas of
the underlying image show through in the composite image as follows:

Result of luma key

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Creating a luma key effect

To set up a Matrox luma key effect, click the triangle next to Matrox Luma Key
to expand the property list:

• Graphical Allows you to see a graphical representation of your changes

when you adjust the property settings. You can adjust the luma key
properties directly in the graph to select the luminance values on which you
want to key. For more information, see “Using the luma key graph” on
page 148.
• Transparency Use this control to set the transparency level of your key
effect. Higher values indicate higher transparency. For example, a
Transparency value of 100 makes the keyed area in your foreground image
completely transparent, leaving the underlying image visible.
• Low Clip Use this to select the lower (darker) luminance values to be
keyed. A Low Clip setting of 0 represents black, and a setting of 255
represents white. Intermediate settings represent different shades of gray,
from very dark to very light gray.
• Low Gain Use this to set the range of luminance values you want to be
partially transparent based on the value set by the Low Clip control. As you
increase the Low Gain setting, more luminance values become partially
transparent to give you a softer-edged key.
A Low Gain setting of 100 provides the widest range for maximum
softness. Alternately, a gain setting of 0 creates a hard key where the
luminance values are either completely transparent or opaque. You can think

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of the Low Gain control as defining a “Transparent to Opaque” range for

keying the dark areas of your foreground image.
• High Clip This control is similar to Low Clip, except you use it to select
the higher (brighter) luminance values to be keyed.
• High Gain This control is similar to Low Gain , except you use it to set the
range of luminance values you want to be partially transparent based on the
value set by the High Clip control. You can think of the High Gain control
as defining an “Opaque to Transparent” range for keying the lighter areas of
your foreground image.
The values you can select using the Low Clip and Low Gain controls are
dependent on the High Clip and High Gain controls, and vice versa. This
prevents the low and high controls from keying on the same luminance
values.
• Mask Allows you to apply a mask to your effect. For more information,
see “Applying a mask to your Matrox effects” on page 112.
• Transparent Outside Mask Select this option to apply transparency
outside the mask area. This allows you to define a mask area where you want
the keying to be performed, and show only your underlying image outside
the mask. For more information, see “Applying a mask to your Matrox
effects” on page 112.
• Invert Key Select this to invert the key selection, giving you the opposite
result of what you originally selected
• Show Key as Output Select this to display the matte used to create your
key effect. This enables you to further refine your key settings. For example,
when you display the matte, areas of your clip that are completely
transparent appear as black, and opaque areas appear as white. If you notice
some white spots that you want to key, you can adjust the key controls until
the undesired white spots disappear.

Using the luma key graph

The luma key graph contains a luminance spectrum and a luminance eyedropper.
You can drag the handles in the luminance spectrum to adjust the Transparency,
Low Clip , High Clip , Low Gain, and High Gain properties.

Eyedropper

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You can select luminance values on which to key by adjusting the Low Clip and
High Clip handles, or you can use the luminance eyedropper to automatically
pick the luminance value you want to key on. The eyedropper can be used in two
ways:
• Click the eyedropper button and click on the color with the desired
luminance value in your clip.
• Click the eyedropper button and click and drag anywhere on your clip to
create a rectangular area containing the luminance values you want to select.
The selected luminance will be an average of the luminance values contained
within the rectangle.
¦ Note Any luma key displayed in the Program Monitor will be temporarily
deactivated when using the luminance eyedropper. This allows you to see the
colors of your clip before any modifications were made.
You can also adjust the softness of your key with the Low Gain, High Gain, and
Transparency handles. All these adjustments affect the shape and size of the
luminance selector as follows:

LOW CLIP HIGH CLIP

TRANS

LOW GAIN HIGH GAIN

• Plot Click this button to see the luminance spectrum with a plot that shows
each luminance value present in your image as a vertical line in the
histogram. A longer line indicates a higher amount of pixels in your image of
that line’s luminance value. You can drag the handles in the luma plot
spectrum to adjust the Transparency, Low Clip , High Clip, Low Gain , and
High Gain properties. Any adjustments made affect the shape and size of the
luminance selector in the Luma Plot.

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Creating a wipe transition

The Matrox wipe transitions support standard dissolves, SMPTE wipes, and
organic wipes with soft edges and color borders.
° To set up a Matrox wipe transition:
Click the transition’s icon in your sequence, then click the Custom button in the
Effect Controls panel. This opens the Customize Matrox Wipes dialog box:

1 Under Wipe Pattern, click the Select Pattern button and choose a pattern
for your wipe.
2 If you would like to add a border to your wipe, select Enable under Border.
$ Width Lets you adjust the width of your border by dragging the slider
or entering a percentage in the text box.
$ Color Click this button to select a color for your border.

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$ Balance Lets you adjust the prominence of the border between image A
and image B. For example, positive values make the border more
prominent in image B, while negative values make the border more
prominent in image A.
$ Reset Click this button to restore the default Border values.
3 Use the controls under Softness to create a soft edge on the border of your
wipe.
$ Nonlinear softness This option is selected by default. You may find it
useful to clear this option when using certain wipe patterns. For example,
nonlinear softness often provides better results when creating SMPTE
wipes, while linear softness is usually preferable when creating organic
wipes.
$ Amount Lets you adjust the amount of softness by dragging the slider
or entering a percentage in the text box. The higher the value, the less
sharp the edge of your border or wipe will become.
$ Reset Click this button at any time to restore the default Softness
values.
4 Use the controls under Preview to preview your wipe transition:
$ Drag the slider beside the Play button to scrub through your transition.
$ Click the Play button or press the SPACEBAR to play back your transition.
Select Loop if you’d like the wipe to play back continuously until you
click Stop.
You can adjust the wipe settings as your transition is playing to immediately
see the result of your changes.
5 Use the controls under Presets to save and load your wipe transition
settings. You can also create default settings for your wipe transitions.
$ Save Allows you to save your organic wipe settings to a file for future
use. When you click the Save button, the Save As dialog box opens and
allows you to name your effect and save it as a Matrox wipe transition
(.mwt) file.
$ Load Click this button to load a previously created .mwt file.
$ Set as Default Sets your current wipe settings as the default settings
for Matrox wipe transitions.
$ Restore Default Click this button to restore the default settings you
specified using the Set as Default button.
For more information about setting up transitions, see your Adobe Premiere Pro
documentation.

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Using the Matrox chroma clamper effect

You can use the Matrox chroma clamper effect to ensure that when you’ve
applied effects that perform color space conversion on part of a clip, the clip’s
colors remain constant throughout. Some Adobe Premiere Pro native effects
perform color space conversions (YUV to RGB) that will clip RGB values to the
acceptable range of 0-255 per color component. The clipping, however, is usually
only required on clips that have very bright or highly saturated colors.
For example, if you split a clip that contains very bright or highly saturated colors
and apply an Adobe basic 3D effect to one portion of the clip, you may notice
minor color differences between the two halves on your video monitor. Applying
the Matrox chroma clamper effect to the portion of the clip that does not have the
Adobe effect ensures that colors remain constant throughout the clip.

Selecting your speed control method

You can choose the type of speed control that’s best suited for individual clips in
your Premiere Pro projects. You can apply the Frame Blend option to a clip,
which interpolates between the video fields or frames, and typically works well
on standard or slow-paced video and camera pans. For fast action video you may
get better results by clearing this option.
To change the speed control method for a clip in the Timeline panel, right-click
the clip and select Frame Blend to use the speed control method that’s
recommended for standard or slow-paced video and camera pans, or clear this
option for fast-action video.

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Using Matrox A/V Tools
This chapter explains how to
use Matrox A/V Tools to
capture clips, grab
single-frame images, and play
back clips in a clip list.
154

About Matrox A/V Tools

Matrox A/V Tools is an application that allows you to capture and play back
clips. With A/V Tools, you can:
• Capture analog or SDI video from your camera or VTR into .avi files on
your computer.
• Use onscreen transport controls to navigate quickly and easily through clips
on disk.
• Grab single-frame images and save them as .tga files, such as to create photo
montages.
• Change the order of clips in your clip list by simply dragging and dropping
clips into the sequence you want.

Starting Matrox A/V Tools

1 Choose Start > Programs > Matrox Mtx.utils > Matrox AV Tools.
2 The Options dialog box pops up every time A/V Tools starts. For
information about the settings in the Options dialog box, see “Defining your
A/V Tools options” on page 158. To close the Options dialog box and start
working with A/V Tools, click OK.

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Using the Matrox A/V Tools interface

Once you’ve specified your A/V Tools options, a dialog box similar to the
following appears:

0 1
2
4

8
3
5

7
Here’s a brief description of the A/V Tools dialog box:
0 New tab Use this tab to capture new clips to add to your clip list. See
“Capturing clips” on page 168.
1 Edit tab Use this tab to edit clips, and update clip information. For details,
see “Editing clips” on page 169.
2 Preview Window Allows you to preview video from your camera, VTR,
or clips on disk. The preview is also displayed on your video monitor.
3 CAM and Disk buttons These buttons let you switch between the
following modes:

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$ CAM mode lets you capture live video from your camera, or video on
tape.
$ Disk mode lets you play back captured clips in your clip list.
4 Clip identification area This section contains several items to help you
identify your clips.
$ Tape ID Displays the name that you’ve assigned to the tape in your
VTR.
$ Clip ID Displays the base name for your new clips when using the New
tab, or the name of the currently selected clip when using the Edit tab. For
details, see “How A/V Tools assigns clip names” on page 168.
$ Comment Lets you enter comments that help you distinguish between
clips in your clip list.
5 Transport controls A set of common transport controls that lets you
easily navigate through clips on disk. For more information, see “Navigating
through clips with the transport controls” on page 156.
6 Clip list A numbered list of clips and their properties. As you capture clips
in A/V Tools, your clips are automatically added to the clip list. The clip list
can be docked to the Matrox A/V Tools dialog box or float freely as a
resizable window. For more information on using the clip list, see “Working
with the clip list” on page 170.
7 Status bar Displays information about the operation you’re currently
performing in A/V Tools, such as clip information and if frames are dropped
during a capture.
8 Float/dock clip list button This button lets you dock the clip list to the
Matrox A/V Tools dialog box, or detach the clip list so that you can move
and resize it. For more information, see “Detaching and resizing the clip list”
on page 172.

Using the A/V Tools pop-up menu

When you right-click anywhere in the clip list, a pop-up menu appears containing
commands for working with A/V Tools. All commands present in the A/V Tools
pop-up menu are described in this chapter.

Navigating through clips with the transport

controls
A/V Tools includes a common set of transport controls for navigating through
clips on your hard drive when working in Disk mode.
¦ Note The transport controls are disabled in CAM mode.

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The transport controls are much like those on your VTR:

Loop
button

Positioner

Most of these controls perform standard transport functions, but some can be
used for special tasks:
• Scrub Drag the slider on the Positioner to scrub through any clip in your
clip list.
• Cue to In or Out point on disk Click the Rewind or Fast Forward
button to cue to the beginning or end of a clip on disk.
• View frame-by-frame Click the Frame Reverse or Frame Advance
button.
• Play a clip on disk repeatedly Click the Loop button, then click the
Play button.

Keyboard Shortcuts
Disk mode K
Play B
Rewind Z
Fast Forward X
Frame Advance ’ (apostrophe)
Frame Reverse ; (semicolon)
Stop V
Loop A

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Changing the time code display

A value in a time code field can be displayed as a time code or a specific number
of frames. The first time you run A/V Tools, the fields display time codes. To
toggle between the two formats, press CTRL+SHIFT while the insertion point
(flashing vertical bar) is in any time code field.
For example, when working with NTSC clips, you could change a value of 24:04
(24 seconds, 4 frames) to 724 frames by pressing CTRL+SHIFT, and then switch
back to time codes again by pressing CTRL+SHIFT.
The time code format of your tape is indicated by the separator between the
seconds and frames digits in the time code fields as follows:
• A colon ( : ) indicates non-drop frame.
• A semicolon ( ; ) indicates drop frame.

Defining your A/V Tools options

Before capturing or playing back clips with A/V Tools, you need to specify
various options, such as your editing video format and your capture and playback
settings.
° To define your options for A/V Tools:
1 Click the Options button.

¦ Note The Options dialog box automatically pops up every time A/V Tools
starts.
2 Under Capture Folder, specify the folder where you want to store your
captured clips. For more information, see “Selecting your capture folder” on
page 160.

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3 Under Editing Video Format, select the video format and aspect ratio you
want for your clips. For example, select NTSC and 4:3 if you want to capture
and play back NTSC clips with a standard 4:3 aspect ratio.
Remarks
$ When you select an editing video format, many of the playback and
capture settings are predetermined for you. All clips are captured to your
selected video format, and clips added to the clip list must have the same
frame size and frame rate. You can mix interlaced and progressive clips
that have the same frame size and frame rate in a clip list.
$ Once your editing video format has been defined, it cannot be changed.
You can run multiple instances of A/V Tools if you want to capture or
play back clips with a different video format.
$ Your editing video format will automatically change if you load a .dvl file
with a different format. For more information see, “Saving and loading a
clip list” on page 170.
4 Under Display Time Code As, select the format that you want for
displaying time codes in A/V Tools (applicable only if you’re using a video
format that has a frame rate of 29.97 or 59.94). The format used is indicated
by the separator between the seconds and frames digits in the time code
fields as follows:
$ A colon ( : ) indicates non-drop frame.
$ A semicolon ( ; ) indicates drop frame.
5 Click the Playback Settings button to specify your playback settings (see
“Defining your playback settings” on page 160).
6 Click the Capture Settings button to specify your capture settings (see
“Defining your capture settings” on page 163). If capture is not supported for
your selected editing video format, a message will be displayed to indicate
that it is not supported.
7 Click OK to save your settings.

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Selecting your capture folder

You can select the folder where you want A/V Tools to store your captured clips
by typing the drive and folder name directly into the Capture Folder box, or by
using the Browse button.

To ensure the best capture and playback performance of your clips, save them on
one of your A/V drives.
A/V Tools will save your video and audio clips in a subfolder with the same
name as the Tape ID. For example, if you selected D:\Matrox AV Tools Capture
as your capture folder, all video and audio clips from tape “MyTape” will be
saved in D:\Matrox AV Tools Capture\MyTape.

Defining your playback settings

The Matrox Playback Settings dialog box has several pages that you can use to
specify various settings for working with A/V Tools. When you select your
editing video format in the Options dialog box, many settings are optimized for
you.
Specifying your general settings
To specify your general settings for playback in A/V Tools:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Matrox Playback
Settings dialog box.
¦ Note You can also access the Matrox Playback Settings dialog box by
right-clicking the clip list and selecting Playback Settings.
3 Click the General tab.

4 Under Scrubbing Mode, select Frame, 1st Field, or 2nd Field to indicate
whether you want to display frames or only one field when you scrub your
clips in the clip list using the transport controls. For example, you may want
to scrub the first or second field to eliminate the flickering that can be seen in

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your picture when you pause while scrubbing interlaced video. Scrubbing
fields can also be used to check for any dropped fields that may have
occurred in your video during a telecine process.
¦ Note When using a progressive editing video format, the scrubbing mode
is set to Frame.
5 Under Video Luma Level, select the type of processing that you want to be
applied to video luminance levels when playing back clips in the clip list:
$ Broadcast Processes video using the standard legal range of luminance
levels for broadcast video. Any super black or super white luminance
levels (that is, levels that fall below the standard black level or exceed the
standard white level) are clipped.
$ Post Production Processes video for post production. Any super black
or super white luminance levels in your video are retained.
6 Under Video Processing Format, select either 8-bit or 10-bit to indicate
the bit depth you want to use for processing video. This option is
automatically set to 8-bit when using a 1440 ×1080i/p editing video format.
7 Use the Preroll/Postroll frames for audio scrubbing sliders to specify the
number of audio frames you want to be played before/after the location of
the positioner when you scrub a clip. This lets you hear more audio to help
you better identify sounds when scrubbing. For example, if you set the
number of preroll frames for audio scrubbing to 3, you will hear the audio
for the current frame and three previous frames when you scrub a frame in a
clip.
¦ Note To return a slider to it’s default setting, click its D button. This button
is available for all sliders in the Matrox dialog boxes.

8 Click OK to save your settings.

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Specifying your video output settings

You can specify various settings to configure the video output from Matrox Axio.
Some of the settings are predetermined for you based on your editing video
format.
° To specify your video output settings:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Playback Settings
dialog box.
3 Click the Video Output tab. The video output settings are the same as those
provided when using Adobe Premiere Pro as explained in “Specifying your
video output settings (X.linkLE)” on page 58, “Specifying your video output
settings (X.linkHD)” on page 61, and “Specifying your video output settings
(X.linkSD)” on page 63.
4 Click OK to save your settings.

Specifying your genlock settings

You can select the source to which you want to genlock all devices connected to
your Matrox Axio system, as well as adjust the timing settings for all video
outputs from Matrox Axio.
° To specify your genlock settings:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Playback Settings
dialog box.
3 Click the Genlock tab. The genlock settings are the same as those provided
when using Adobe Premiere Pro as explained in “Specifying your genlock
settings” on page 65.
4 Click OK to save your settings.

Specifying your audio output settings

The audio output page lets you adjust various settings for your audio output from
Matrox Axio. For example, you can adjust the volume of your analog audio
output before or while playing back clips.
° To specify your audio output settings:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Playback Settings button. This displays the Matrox Playback
Settings dialog box.
3 Click the Audio Output tab. The audio output settings are the same as those
provided when using Adobe Premiere Pro as explained in “Specifying your
audio output settings (X.linkLE)” on page 67 and “Specifying your audio
output settings (X.linkHD and X.linkSD)” on page 71.

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¦ Note The 5.1 surround mapping and 16-channel mapping settings won’t be
available as they don’t apply when using Matrox A/V Tools.
4 Click OK to save your settings.

Defining your capture settings

The Matrox Capture Settings dialog box has pages that you can use to specify
your settings for capturing video and audio in A/V Tools. The settings available
are based on your editing video format and your input source.
¦ Note When you specify your capture settings in A/V Tools, VU meters can be
displayed to let you monitor your audio input levels.
Specifying your video capture settings
You can capture video to various formats, depending on your selected editing
video format and source video format. For example, you can choose to capture
NTSC clips to Matrox MPEG-2 I-frame .avi files.
° To specify your settings for capturing video in A/V Tools:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Capture Settings button. This displays the Matrox Capture
Settings dialog box.
¦ Note You can also access the Matrox Capture Settings dialog box by
right-clicking the clip list and selecting Capture Settings.
3 Click the Video Capture Settings tab.

4 From the Input Source list, select the type of input you want to capture. If
you’re capturing from X.linkLE or X.linkSD, select SDI, Component,

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Composite, or S-Video. If you’re capturing from X.linkHD, the Input

Source will be set to SDI.
¦ Note If Matrox Axio can’t detect your source device when you start a
capture, you’ll receive an error message. Either black video will be captured
or the capture won’t be able to start until a valid input signal is present. In
either case, you must make sure that your source device is switched on and
properly connected to your system to properly capture the video.
5 From the Input Format list, select the video format that matches your
source video. Depending on your editing video format, you may not be able
to change the input format. If needed, Matrox Axio will apply an appropriate
pulldown method to convert the incoming video to your editing video
format. For example, if your editing video format is 1080p @ 23.98 fps and
you set the Input Format to [email protected], a standard reverse pulldown
(2:3 cadence) will be applied to capture the video to 1080p @ 23.98 fps.
6 From the Input Aspect Ratio list, select the aspect ratio of your SD source
video (4:3 or 16:9). For example, to capture video that was recorded using
the standard TV screen format, select 4:3. To capture video that was
recorded using the widescreen 16:9 format, select 16:9. If you’re capturing
HD video, the Input Aspect Ratio will be set to 16:9.
7 Under Capture Format, select your desired capture format from the list.
The formats available in the list depend on your editing video format.
$ Matrox DV/DVCAM Captures video to DV or DVCAM format.
$ Matrox DVCPRO Captures video to DVCPRO format.
$ Matrox DVCPRO50 Captures video to DVCPRO50 or D-9 format.
$ Matrox DVCPRO HD Captures video to DVCPRO HD format.
(Available only for 1080i and 720p sequences.)
$ Matrox 8-bit Uncompressed Captures video to 8-bit uncompressed
format.
$ Matrox 10-bit Uncompressed Captures video to 10-bit
uncompressed format.
¦ Note On Axio LE, Matrox 10-bit Uncompressed is the only capture
format available to capture video if you’re using a 10-bit video processing
format, and is not available if you’re using an 8-bit format. If you want to
capture to a format other than Matrox 10-bit Uncompressed, you can switch
the video processing format (on the General page) to 8-bit, and then change
back to 10-bit after you’ve completed your capture.
$ Matrox MPEG-2 I-frame Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only). For the best results when capturing video clips on which

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you’ll be applying chroma key effects, you should use this codec instead
of a DV codec.
$ Matrox MPEG-2 I-frame HD Captures video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate (HD
resolution only). This is the only capture format available when using a
1440 ×1080i editing video format.
8 If you’re capturing to a Matrox MPEG-2 I-frame format, click the
Configure button to configure your settings. The MPEG-2 I-frame settings
for capture in Matrox A/V Tools are the same as when you capture using
Adobe Premiere Pro. For more details, see “Selecting your MPEG-2 I-frame
settings” on page 88.
9 Select Use Automatic Gain Control (AGC) if you want the gain of your
composite or S-Video input signal to be adjusted automatically to
compensate for very bright or dark images. This improves the brightness or
contrast of your picture. (Available when capturing from X.linkLE or
X.linkSD only.)
10 From the Input Type list, select the type of equipment you’re using for
capture:
$ Broadcast-quality Source Select this if your source device is
broadcast-quality. This setting provides the best capture results for most
devices.
$ Consumer-quality Source Select this if you’re having problems
capturing video because your source device doesn’t meet
broadcast-quality standards. For example, the capture may be interrupted
when you try to capture from certain composite and S-Video devices,
especially from low-quality VCRs. If this happens, selecting
Consumer-quality Source will allow the video to be captured, but you
may experience dropped frames during the capture.
¦ Note For any change to the input type to take effect, you must restart Matrox
A/V Tools.
11 Click OK to save your settings.

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Specifying your audio capture settings

You can specify various audio capture settings, such as to specify the type of
audio files (either stereo .wav or mono .wav) that you want to create when
capturing audio in A/V Tools.
Remarks
• When you capture to an .avi file using A/V Tools, the clip’s video and audio
are saved to the .avi file, and the clip’s audio is also saved to one or more
separate .wav files. You could choose to edit the separate .wav files using
audio post-processing software, such as Adobe Soundbooth.
• The separate .wav files are not supported in the A/V Tools clip list, but you
can import them into Adobe Premiere Pro.
° To specify your settings for capturing audio in A/V Tools:
1 Click the Options button in the Matrox A/V Tools dialog box.
2 Click the Capture Settings button. This displays the Matrox Capture
Settings dialog box.
3 Click the Audio Capture Settings tab.

4 Under Input Source, select the audio input source you want to capture. For
example, if you want to capture the embedded audio of your SDI source,
select SDI (embedded audio).
¦ Note If you experience dropped frames when capturing embedded SDI
audio on Axio LE, you can set your audio capture source to SDI (embedded

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audio) - One pair only. This improves the capture performance by processing
only one audio pair for the capture.
5 Under Capture Format, select the bit-depth for your captured audio files.
6 If you want the VU meters to be displayed each time you configure your
capture settings or start a capture in A/V Tools, select Show VU meters.
The VU meters are the same as displayed when you capture audio using
Adobe Premiere Pro (see “Monitoring audio levels for capture” on page 84).
7 Under Capture Files, indicate whether you want to capture to stereo or
mono audio files, and select which channels you want to save to separate
.wav files.
$ From the File Type list, select Stereo to save your captured audio to
stereo .wav files, or Mono to save your captured audio to mono .wav files.
$ From the Filename lists, select which stereo pairs or mono channels you
want to save to your .wav files (up to four stereo files or up to eight mono
files depending on the type of audio being captured). Select None for the
particular .wav files you don’t want to be created, or click the D (default)
button for each Filename list if you want to capture only channels 1 and
2.When A/V Tools saves each .wav file, it assigns a .Stereo.wav or
.Mono.wav suffix to the base name you gave for the associated video file.
For example, if you’ve named your video file MyFile.avi, the associated
stereo audio files would be named MyFile.Stereo1.wav,
MyFile.Stereo2.wav, etc.
¦ Note The channels that you choose to save to the first stereo.wav file or first
two mono.wav files will be embedded in the associated .avi file.
8 Click OK to save your settings.

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How A/V Tools assigns clip names

When using the New tab, Clip ID displays the base name for your new clips. For
example, if the Clip ID is “MyClip,” A/V Tools will assign the name
MyClip000.avi to the first new clip you capture, and continue naming clips
sequentially (for example, MyClip001.avi, MyClip002.avi, etc.). Before
capturing new clips, you can change the Clip ID to any base name you like.
When editing clips using the Edit tab, Clip ID displays the name of the selected
clip in the clip list. You can change the name by typing a new name in the Clip ID
box on the Edit tab, then clicking Update. You can also change a clip ID directly
in the clip list by typing a new name in the clip’s Clip ID box, then pressing
ENTER.

¦ Note Changing the clip ID for a captured clip will not change the clip’s file
name.

Capturing clips
With A/V Tools you can capture live video from your camera, or video on tape.
Capturing saves the clips as .avi files on your computer’s hard drive.
¦ Note A/V Tools does not support capture from tape with device control.

Capturing live video

1 In the A/V Tools dialog box, click the CAM button. To capture live video,
your device must be set to Camera mode.
2 In the Clip ID box, type the base clip name you’d like to be assigned to your
clip. For more information, see “How A/V Tools assigns clip names” on
page 168.
3 Click Capture.
4 A/V Tools will start capturing the clip. To stop the capture, click the Stop
button.
5 Your captured clip is added to the clip list with its duration and an icon
representing the first and last frames of the clip.

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Capturing from tape without device control

1 In the A/V Tools dialog box, click the CAM button. To capture video from
tape, your device must be set to VTR mode.
2 In the Tape ID box, type a name for the tape presently loaded in your VTR.
3 In the Clip ID box, type the base clip name you’d like to be assigned to your
clip. For more information, see “How A/V Tools assigns clip names” on
page 168.
4 Press the Play button on your device. You will see the video play back in the
A/V Tools Preview Window and on your video monitor.
5 Click Capture.
6 A/V Tools will start capturing the clip. To stop the capture, click the Stop
button.
7 Your captured clip is added to the clip list with its duration and an icon
representing the first and last frames of the clip.

Editing clips
Matrox A/V Tools lets you update the clip ID and comment information for clips
in your clip list, as well as change a clip’s In and Out icons.

Updating clip information

To update the clip ID and comment information for a clip, select the clip in the
clip list and click the Edit tab. Type the new text in the text boxes, then click
Update. For more information on the clip ID, see “How A/V Tools assigns clip
names” on page 168.

Changing a clip’s In and Out icons

In and Out icons are the small icons representing the first and last frames of a
clip in the clip list. These icons can be changed to better represent your clip.

° To change the In and Out icons of captured clips in the clip list:
1 Use the transport controls to play back your clip in the preview window and
on your video monitor.
2 When you see the frame you want for the In icon, click Grab In Icon. A/V
Tools automatically updates the icon.
3 When you see the frame you want for the Out icon, click Grab Out Icon.

Editing clips
170

Working with the clip list

The following sections explain how to add new clips to the clip list, play back
clips, save and load clip lists, copy, move and delete clips, and how to detach and
resize the clip list.

Adding clips
You can add a clip or a series of clips (.avi files) to the clip list using any of the
following methods:
• Drag an .avi file from a file management program, such as Windows
Explorer, to the clip list. If you’re adding clips to an existing clip list, you
can drag them to the bottom of the clip list, or place them in a specific
position using the methods described in the section “Moving clips” on
page 171.
• Right-click the clip list, then choose Import Clip from the pop-up menu (or
double-click an empty area of the clip list). In the Open dialog box, select
the .avi files you want to import, then click Open.

Playing back clips

You can play back your clips one at a time, or in the same sequence as they
appear in the clip list. To play back your clips:
• Select a clip in the clip list and click the Play button on the transport
controls.
• Right-click a clip on the clip list and choose Play.
• To play back multiple clips in sequence, select a range of clips in the clip list
using SHIFT+click or select individual clips using control click, then use
one of the afore-mentioned methods to play them back.

Saving and loading a clip list

To save a clip list, right-click the clip list. Choose Save As from the pop-up
menu to save your current clip list as a .dvl file.
You can load a clip list (.dvl) using any of the following methods:
• Right-click the clip list. Choose Open Clip List or Open Recent to select a
recently opened clip list.
• Drag a .dvl file from a file management program, such as Windows Explorer,
to the clip list.
• Double-click the .dvl file in Windows Explorer to start A/V Tools and load
the clip list. Make sure that A/V Tools is not running when you do this.

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Remarks
$ The first time you double-click a .dvl file in Windows Explorer, you will
need to specify Matrox A/V Tools as the program you want to use to open
.dvl files.
$ If you load a .dvl file to a clip list that already contains clips, it will
replace the current clip list. If needed, your editing video format in A/V
Tools will be changed to match the video format of the clips in the loaded
clip list.

Copying clips
You can copy a clip or a series of clips in the clip list using either of the following
methods:
• Select the clips you want to copy, right-click the clip list, then choose Copy
from the pop-up menu. Select a clip in the clip list, then choose Paste to
paste the copied clips above the currently selected clip.
• Select the clips you want to copy, then CTRL+drag the clips and drop them
into the sequence you want.
¦ Note When copying a clip, the clip’s .avi file is not copied, only the reference
to the clip on disk is copied. A/V Tools assigns the -Copy extension to the Clip ID
of the copied clips.

Moving clips
You can change the order of clips in the clip list, such as to arrange clips in the
order you want to play them back. To rearrange your clips, do any of the
following:
• Select the clips you want to move, then drag and drop them into the sequence
you want. If you drag clips up in the clip list, the clips are inserted above the
black line. If you drag clips down in the clip list, the clips are inserted below
the black line. Releasing the mouse button places the clips in the list and
ripples the position of all subsequent clips in the clip list.
• Select the clips you want to move, then right-click the clip list. Choose Cut
from the pop-up menu to cut the clips. Select a clip in the clip list, then
choose Paste to paste the clip above the currently selected clip.

Deleting clips
Select the clips you want to delete, right-click the clip list, then choose one of the
following from the pop-up menu:
• To delete only the selected clips from the clip list, choose Delete Clip Only.
• To delete the selected clips and their corresponding files from your hard
drive, choose Delete Clip+File.

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Detaching and resizing the clip list

You can change the size of your clip list to suit your needs. First, detach the clip
list from the Matrox A/V Tools dialog box by clicking the Float/dock clip list
button ( ) above the clip list. Now the clip list can be freely moved and
resized. To resize the clip list, drag the sides or corner of the clip list as needed.
You can also use the standard Windows Maximize and Restore buttons in the
top right corner of the window.
After resizing, A/V Tools will automatically rearrange the clips in the clip list. To
dock the clip list back to the Matrox A/V Tools dialog box, click the
Float/dock clip list button, or click the Close button in the top right corner of
the Clip List window. Once the window is docked again, A/V Tools will
remember the previous size and location of the clip list for the next time you
detach the clip list.

Grabbing a single-frame image

You can grab single-frame (still) images and save them as .tga files to use in your
Adobe Premiere Pro projects. Your source video can be a clip on tape, a clip on
disk, or live video.

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° To grab a single-frame image:

1 Play back your source video. If it is on disk, you can use the transport
controls to locate the clip
2 In the A/V Tools dialog box, click the Grab Image button to open the Grab
Image dialog box.

3 When the frame you want is displayed in the Preview Window, click the
Grab button.
4 If you notice flickering in your image, you can choose to grab only one of
the fields. From the Grab list, select Field 1 or Field 2. One field contains
the odd-numbered scan lines in the frame, and the other field contains the
even-numbered lines. Select the field that best displays your image. A/V
Tools interpolates between the two consecutive scan lines to create the
missing field.
5 Click Save or Save As to save the image.
6 Click the Close button to return to the Matrox A/V Tools dialog box.

¦ Note If you do not specify a file name in the Save As text box, or if you select
Auto Save, A/V Tools will assign a default name to the first grabbed image
(such as MyImage01.tga or a name based on the last name you used) and
continue naming images sequentially.

Grabbing a single-frame image

174

Keyboard shortcuts
The following table provides a complete list of keyboard shortcuts available for
using A/V Tools.

Keyboard Shortcuts
Disk mode K
CAM mode B
Play B
Rewind Z
Fast Forward X
Frame Advance ’ (apostrophe)
Frame Reverse ; (semicolon)
Stop V
Loop A
Delete Clip Only DELETE
Delete Clip + File SHIFT+DELETE
Grab F5
Auto Save F6
Save F7
Import Clip CTRL+I
Select All CTRL+A
Cut CTRL+X
Copy CTRL+C
Paste CTRL+V
New Clip List CTRL+N
Open Clip List CTRL+O
Save Clip List CTRL+S

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 10
Using the Matrox WYSIWYG Plug-ins
This chapter explains how to
use the Matrox WYSIWYG
Control Panel and plug-ins
available with Matrox Axio so
that you can display the
contents of your composition
or animation on your video
monitor.
176

Overview
Together with your Matrox Axio hardware, the Matrox WYSIWYG Control
Panel and Matrox WYSIWYG plug-ins let you display the contents of your
composition or animation on your video monitor. This lets you see the exact
color temperature, safe-title area, and any interlaced artifacts as you work.
You can preview video played back using the following applications that are
supported by the Matrox WYSIWYG plug-ins:
• Adobe After Effects, version 5.0 to CS5.
• Adobe Photoshop, version 7.0 to CS4 (32-bit only), and CS5 (32-bit and
64-bit).
• Autodesk 3ds Max, version 7.0 to 2009 (32-bit only).
• Autodesk Combustion, version 4.0 to 2008 (32-bit only).
• eyeon Fusion, version 4.0 to 5.2 (32-bit only), 6.0 and 6.1 (32-bit and
64-bit).
• NewTek LightWave 3D, version 7.0 to 9.2 (32-bit only), 9.6 and 10 (32-bit
and 64-bit).

Configuring the Matrox WYSIWYG Control

Panel
The Matrox WYSIWYG Control Panel lets you specify the settings you want for
previewing video on your video monitor. To use the Matrox WYSIWYG Control
Panel, right-click the icon on your Windows taskbar. If you don’t see the
icon, choose Start > All Programs > Matrox Mtx.utils > Matrox
WYSIWYG Control Panel.
¦ Note By default, the Matrox WYSIWYG output to your video monitor is
enabled. To disable it, clear the Enable WYSIWYG Output option in the
Control Panel.
1 From the Project Format menu, select the format that matches your
composition or animation, such as NTSC 4:3.
2 Choose Output Configuration to specify the video output settings you
want for previewing your video. The available settings depend on your
selected project format (editing video format), and are the same as those
provided when using Adobe Premiere Pro as explained in “Specifying your
video output settings (X.linkLE)” on page 58, “Specifying your video output
settings (X.linkHD)” on page 61, and “Specifying your video output settings
(X.linkSD)” on page 63.

Chapter 10, Using the Matrox WYSIWYG Plug-ins

 177

¦ Note The Genlock page is also available to let you adjust the genlock
settings for your video output, if needed. For details, see “Specifying your
genlock settings” on page 65.
3 From the Preview Type menu, select one of the following options for the
preview:
$ Video Select this to view your composition or animation.
$ Alpha Channel Select this to view only your composition’s or
animation’s grayscale alpha-key (matte) information.
4 From the Scaling menu, select one of the following options for your preview
output:
$ Scale to fit Select this to scale your output to fit your video monitor.
The aspect ratio of your project format will be preserved.
$ Original Size Select this to output your video without any scaling. If
you are playing back HD clips in an SD project, your output will be
centered on your video monitor.

Required steps to use the WYSIWYG plug-ins

The following sections list the steps required to use the Matrox WYSIWYG
plug-in for each application in order to preview video on your video monitor.
¦ Note The following procedures may change with a subsequent release of the
program.

Adobe After Effects

1 Start Adobe After Effects and import the footage you want to preview.
2 Drag the footage from the Project window to the Composition panel.

¦ Note In order for the preview to be updated on your video monitor when you
scrub the timeline, you must disable OpenGL for your previews. To do this,
choose Edit > Preferences > Previews, and clear the Enable OpenGL option.

Adobe Photoshop
1 Start Adobe Photoshop and open the file you want to preview.
2 Choose File > Export > Matrox WYSIWYG Preview.

Autodesk 3ds Max

1 Start Autodesk 3ds Max and open the file you want to preview.
2 Open the Render Scene dialog box by choosing Rendering > Render
Setup .
3 Click the Common tab.
4 Under Render Output, click Devices.

Required steps to use the WYSIWYG plug-ins

178

5 In the Select Image Output Device dialog box, select Matrox WYSIWYG
Preview, and click OK.
6 Click Render.

Autodesk Combustion
1 Start Autodesk Combustion and open the file you want to preview.
2 Choose File > Preferences > Framebuffer.
3 In the menu beside Framebuffer Type, select Matrox WYSIWYG
Preview, and click OK.

eyeon Fusion
1 Start eyeon Fusion and open the file you want to preview.
2 Right-click on the file, and choose View On > Matrox WYSIWYG
Preview.

NewTek LightWave 3D
1 Start NewTek LightWave 3D and load the file you want to preview by
choosing File > Load > Load Scene.
2 Click the Render tab.
3 Under Options on the left hand side of the screen, click Render Globals.
4 From the Render Display menu, select Matrox WYSIWYG Preview.
5 Under Render on the left hand side of the screen, click Render Frame.

Chapter 10, Using the Matrox WYSIWYG Plug-ins

 11
Using the Matrox Video for Windows
Codecs
This chapter explains how to
use the Matrox Video for
Windows codecs to render
material to Matrox .avi files.
180

Overview
When using Video for Windows (VFW) programs to render material to an .avi
file, such as in the case of a completed video production or an animation, you can
use a Matrox VFW codec to create a Matrox .avi file. For example, you may want
to render an animation to a Matrox MPEG-2 I-frame .avi file so that you can
import the file as a realtime clip into your Adobe Premiere Pro projects on
Matrox Axio.
When rendering compositions or animations that have an alpha channel, you can
select a “+ Alpha” Matrox VFW codec to render to a Matrox uncompressed or
MPEG-2 I-frame .avi file that contains the alpha-key information. This .avi file
will be automatically keyed when you place the clip in an Adobe Premiere Pro
sequence.
The following sections explain the various settings that you need to make to
render material to a Matrox .avi file using a VFW program. For details on
exporting a Matrox sequence in Adobe Premiere Pro, see “Exporting to a Matrox
.avi file” on page 92.
¦ Note Although Matrox has tested many VFW programs, there may be certain
operational limitations when using the Matrox VFW codecs with some of these
programs (as well as with untested programs).

Using VFW programs without the Axio

hardware
If you installed the Matrox VFW software codecs for use without the Axio
hardware (see “Installing the Matrox VFW software codecs on a system without
the Axio hardware” on page 47), you can render and play back Matrox .avi files
using your VFW program without having the Axio hardware in your computer.
For example, if you captured clips to Matrox MPEG-2 I-frame format using
Adobe Premiere Pro, you could edit and play back those clips on a system
without the Axio hardware, assuming that you installed the Matrox VFW
software codecs on that system.

Chapter 11, Using the Matrox Video for Windows Codecs

 181

Before you start rendering

Before you start rendering material to a Matrox .avi file, make the following
settings in your VFW program:
• Set the frame size (width and height) of your rendered material to
full-screen, depending on the codec that you’ll be using.
$ DV/DVCAM, DVCPRO, DVCPRO50, or MPEG-2 I-frame SD:
• 720 × 480 to render to NTSC or 486p format.
• 720 × 576 to render to PAL or 576p format.
$ Uncompressed SD:
• 720 × 486 to render to NTSC or 486p format.
• 720 × 576 to render to PAL or 576p format.
$ MPEG-2 I-frame HD:
• 1280 ×720 to render to 720p format.
• 1440 ×1080 to render to 1440×1080i/p format.
• 1920 ×1080 to render to full-size 1080i/p format.
$ DVCPRO HD or Uncompressed HD:
• 1280 ×720 to render to 720p format.
• 1920 ×1080 to render to 1080i/p format.
• Set the appropriate frame rate for the video format to which you are
rendering. For example, if you are rendering to PAL format, set the frame
rate to 25 fps.
• If available, select the “Recompress” option. This allows you to render video
using the same compression format, frame size, and frame rate as your
source video but using a different data rate, scanning mode (interlaced or
progressive), or bit depth (8-bit or 10-bit).
• If you’ll be rendering audio, set the audio sample rate to 48 kHz and the
sample size to 16-bit (mono or stereo).
• For best results, make sure that there is no data rate limit set in your program
for rendered material. This ensures that your .avi files will be rendered at the
particular data rate you select.
¦ Note Before rendering a lot of material, check that your rendered animations
and transitions such as wipes and slides play back smoothly. If they appear
jumpy, try adjusting the field dominance or field order for your rendered material.

Before you start rendering

182

Selecting color space conversion options

When you render material to an .avi file using a Matrox VFW codec, you can
determine how you want the luminance levels and chroma information to be
processed during the color space conversion that’s performed during the render.
¦ Note The default settings for color space conversion provide good results for
most applications. We recommend that you change these settings only when
needed for special purposes.
° To select the color space conversion options you want:
1 Choose Start > All Programs > Matrox Mtx.utils (or Matrox VFW
Software Codecs) > Matrox VFW Codec Configuration.
2 In the provided dialog box under Color Space Conversion, select the
options you want:

$ Standard Renders video using standard broadcast luminance levels.

Super black and super white luminance levels are clipped.
$ Expanded Renders video using the full range of luminance levels.
Super black and super white luminance levels are retained. You may want
to use this setting, for example, to render material on which you’ll be
applying luminance key effects.
¡ Important When rendering RGB graphics, selecting Expanded will
create super black and/or white in your rendered images. For example, all
black in your RGB graphics will become super black, and white will become
super white. To render your RGB graphics with standard black and white
levels, set your luminance range to Standard.

Chapter 11, Using the Matrox Video for Windows Codecs

 183

$ Chroma filtering and Chroma interpolation Select these options to

adjust the chroma bandwidth of RGB graphics. This improves images that
have abrupt changes between different colors, such as a blue box on a
black or white background. You should select these options for most
animation and compositing work (computer-generated material). For most
video editing programs, however, it’s best that you not select these
options. If you find that your rendered images appear to be blurred, try
clearing one or both of these options.
3 Click OK to save your settings. Any change you make to your selected
luminance range setting (such as switching from Standard to Expanded)
will only take effect the next time you start your VFW program.

Rendering material to a Matrox VFW .avi file

When you render material to an .avi file, such as when you render a finished
video production or an animation, you must select the compressor (codec) you
want to create the file. The compressor determines the quality of your rendered
video. Refer to your program’s documentation for instructions on how to select a
compressor for your .avi file.
For information about exporting using Adobe Premiere Pro, see “Exporting to a
Matrox .avi file” on page 92.
° To create a Matrox VFW .avi file:
1 Select one of the following codecs from your program’s list of available
compressors:
$ Matrox DV/DVCAM Renders video to DV or DVCAM format.
$ Matrox DVCPRO Renders video to DVCPRO format.
$ Matrox DVCPRO50 Renders video to DVCPRO50 or D-9 format.
$ Matrox DVCPRO HD Renders video to DVCPRO HD format (for
1080i and 720p video only).
$ Matrox MPEG-2 I-frame Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ Main Level at a selected data rate (SD
resolution only).
$ Matrox MPEG-2 I-frame + Alpha Renders video to MPEG-2
intra-frame format with alpha using the 4:2:2 Profile @ Main Level at a
selected data rate (SD resolution only).
$ Matrox MPEG-2 I-frame HD Renders video to MPEG-2 intra-frame
format using the 4:2:2 Profile @ High Level at a selected data rate.
$ Matrox MPEG-2 I-frame HD + Alpha Renders video to MPEG-2
intra-frame format with alpha using the 4:2:2 Profile @ High Level at a
selected data rate.

Rendering material to a Matrox VFW .avi file

184

$ Matrox Uncompressed SD Renders video to 8-bit or 10-bit

uncompressed SD format.
$ Matrox Uncompressed SD + Alpha Renders video to 8-bit or 10-bit
uncompressed SD format with alpha.
$ Matrox Uncompressed HD Renders video to 8-bit or 10-bit
uncompressed HD format.
$ Matrox Uncompressed HD + Alpha Renders video to 8-bit or 10-bit
uncompressed HD format with alpha.
¦ Note The Matrox Offline HD codec is not supported for rendering clips.
This codec is provided only for playback of legacy Matrox Axio offline HD
projects.
2 If you’ve selected a Matrox codec that requires configuration, click the
button provided by your program that allows you to configure your codec
settings. For more details, see the following sections.

Configuring the Matrox DVCPRO HD codec

When you choose to configure the Matrox DVCPRO HD codec, a dialog box
similar to the following appears:

From the Frame Rate list, make sure that you select the frame rate that matches
the frame rate specified for rendering video in your editing application.

Configuring the Matrox Uncompressed codecs

When you choose to configure a Matrox Uncompressed codec (SD or HD
resolution), a dialog box similar to the following appears:

Chapter 11, Using the Matrox Video for Windows Codecs

 185

1 Under Bit Depth, select the bit depth you want for your video.
¦ Note Matrox RT.X2 does not support 10-bit uncompressed video.
2 Under Scan Mode, select the scan mode of your video.
3 Click OK to save your selection. The settings you selected will be used each
time you render material with your program, until you change the settings
again.

Configuring the Matrox MPEG-2 I-frame codecs

When you choose to configure a Matrox MPEG-2 I-frame codec (SD or HD
resolution), a dialog box similar to the following appears:

1 Drag the Data Rate slider until your desired data rate is displayed. The
higher the data rate you select, the better the video quality will be.
Depending on the capabilities of your system, however, you may not be able
to smoothly play back video at a high quality using your VFW program.
2 Beside Frame Rate, select a frame rate from the list. Make sure the frame
rate you select is appropriate for the format to which you are rendering.
3 To apply advanced settings to your MPEG-2 I-frame file, click the
Advanced button.
¦ Note The default advanced settings should provide good results for most
applications. It’s recommended that you change these settings only when
needed for special purposes.

4 Beside DC Precision , select the bit-depth precision of the DC intra block.

The higher the DC precision value that’s used to render your video, the more
likely that the DC content will be increased at the expense of the AC content
in the encoded stream. This may result in lowering the overall quality of the
compressed stream at a specified data rate.
5 Under Zig Zag Order, select one of the following:

Rendering material to a Matrox VFW .avi file

186

$ Regular Sets the regular (default) zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2
(figure 7-2) specification documentation.
$ Alternate Sets an alternate zig zag scanning pattern of the AC
coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure
7-3) specification documentation. Use this setting when capturing or
rendering video at a high data rate (for example, at a data rate of 100
Mb/sec or higher).
6 Under Rounding Type, select one of the following:
$ MPEG-2 Rounds the AC coefficients up to the nearest whole number
when calculating the quantization coefficient.
$ Matrox Custom Truncates the AC coefficients to the lowest whole
number when calculating the quantization coefficient. In some cases, this
setting may yield less artifacts in graphics.
7 Select the Force Frame-based DCT setting to render macroblocks as
frames rather than as fields. In some cases, graphics will yield less artifacts if
this option is selected.
8 Click OK to save your settings. The settings you selected will be used each
time you render material with your program, until you change the settings
again.

Chapter 11, Using the Matrox Video for Windows Codecs

 12
Monitoring Your Matrox Axio System
This chapter explains how to
use the Matrox X.info program
to display important details
about your Matrox Axio system
and installed hardware.
188

Using X.info to display Axio information

The Matrox X.info program lets you display information about your Matrox
Axio system and installed hardware, and provides warnings when certain
problems arise, such as when the temperature of one of your Axio hardware
components exceeds the maximum operating temperature.
Matrox X.info runs continuously to monitor your system, whenever your
computer is turned on. You can open Matrox X.info to display system and
hardware details by double-clicking the icon on your Windows taskbar.
¦ Note If you do not see the icon, right-click the notification area of the taskbar
and choose Properties, clear the Hide inactive icons option, and click OK.

Displaying system information

To display information about your Matrox Axio system, select System from the
Display Information About list. On this page, you can see Install
Information, such as the install path and version of Mtx.utils.
You can also create an HTML log file of your system information, which can be
useful for troubleshooting. To create this log, use the Browse button under
System Information Log to select the path and name of the log, then click

Chapter 12, Monitoring Your Matrox Axio System

 189

Create . If Open file after scan is selected, the HTML system log opens after it
is created.

If you had previously turned off certain Matrox warnings and want them to be
re-enabled, click Re-enable Warnings . For example, some Matrox warnings
provide an option to turn off the warning (that is, you can select Don’t display
this message again). Clicking Re-enable Warnings allows these warnings to
be displayed again.

Using X.info to display Axio information

190

Displaying hardware information

To display hardware information about your Matox Axio system, select
Hardware from the Display Information About list. Each card and breakout
box (X.linkHD and X.linkSD) is represented by a tab.
¦ Note No hardware information is provided for the X.linkLE breakout box.
Click the card or breakout box’s tab to display a page with hardware information
(for example, serial number and production date). You can also monitor the
current and maximum operating temperatures for each hardware component.

¡ Important Whether or not you have opened Matrox X.info, if one or more of
your Matrox Axio hardware components exceeds the maximum operating
temperature, you’ll receive a warning message with further instructions as
explained in the section “Error notification” on page 191.

Chapter 12, Monitoring Your Matrox Axio System

 191

Monitoring your Axio hardware operating

temperatures
The X.info Hardware section displays the current and maximum operating
temperatures for your various Matrox Axio hardware components. To avoid
damage to your Axio components and/or computer system, make sure that you
don’t operate your Axio hardware at or near the maximum temperature for a
prolonged period of time. You should target your Axio hardware to operate at
least 10°C below the maximum operating temperature.
You should monitor the temperature of your Axio hardware components
periodically and take measures as needed to lower the room temperature and/or
improve the ventilation in your Axio system. For details on how to ensure your
system is properly ventilated, see “Providing adequate ventilation” on page 8 for
Matrox Axio LE, and “Providing adequate ventilation” on page 28 for Matrox
Axio HD or SD.

Error notification
X.info provides temperature warnings and warnings about other possible
hardware problems with your Axio system. Once X.info has detected a hardware
problem, the Matrox X.info Notification dialog box will be displayed to give
you details of the problem and further instructions. You will not be able to close
this dialog box until the problem has been resolved.

Using X.info to display Axio information

192

Your notes

Chapter 12, Monitoring Your Matrox Axio System

 A
Understanding Standard and Advanced
Pulldown
This appendix describes the
most common pulldown
methods, and explains how
and when these pulldown
methods are employed by
Matrox Axio.
194

Overview
Part of your project’s workflow may involve the application of a pulldown
technique to convert your input video to the video format of your sequence.
Pulldown can also be applied to your output video to meet certain requirements.
When a pulldown is required, Matrox Axio performs either a standard 2:3
pulldown or an advanced 2:3:3:2 pulldown.

Standard 2:3 pulldown

Standard 2:3 pulldown is often used as part of the telecine process to transfer
24 fps film footage to 29.97 fps interlaced video. This pulldown method is also
used to convert any 23.98 fps progressive video to 29.97 fps interlaced video,
such as for converting 486p @ 23.98 fps video to NTSC.
In order to convert 24 fps film or 23.98 progressive video to 29.97 fps interlaced
video, additional video frames, and more specifically video fields, must be
created and added to the video sequence. For example, to convert a sequence of
four film or progressive frames, five frames of video are needed for a total of 10
video fields. Therefore, one additional video frame or two video fields must be
created. To accomplish this, the first and third frames of a four-frame film or
progressive video sequence are each converted to two video fields. The second
and fourth frames of the sequence are converted to three video fields to make up
a total of five interlaced video frames.
The following diagram demonstrates the process:
Film frames @ 24 fps or progressive frames @ 23.98 fps

A B C D

Video fields @ 29.97 fps

a1 a2 b1 b2 b3 c1 c2 d1 d2 d3

Frame A Frame B Frame C Frame D Frame E

Standard 2:3 pulldown is accomplished by representing the first frame of film or

progressive video (frame A) as two fields of video (fields a1 and a2), the second
frame (frame B) as three fields of video (fields b1, b2, and b3), the third frame
(frame C) as two fields (fields c1 and c2), and the fourth frame (frame D) as three
fields (fields d1, d2, and d3). This sequence repeats six times each second.

Appendix A, Understanding Standard and Advanced Pulldown

 195

Performing a standard reverse pulldown (2:3 cadence) reverses the process by

converting 29.97 fps interlaced video to 23.98 fps progressive video. This is
achieved by discarding a video frame (two video fields) from the sequence. From
the diagram above, a typical standard reverse pulldown would discard fields b3
and d1. This means that video frames C and D must be read by the application to
remove the additional fields. For standard reverse pulldown that is performed on
compressed video, the application must decompress frames in order to remove
the additional fields, and then it must recompress frames to complete the
conversion.

Matrox Axio implementation of standard

reverse pulldown
In order for Matrox Axio to properly perform a standard reverse pulldown, the
material that is to be converted from 29.97 fps interlaced video to 23.98 fps
progressive video must have been originally acquired at 23.98 fps. When Matrox
Axio performs a standard reverse 2:3 pulldown, the process identifies the A
frames of a sequence as those frames that have time code ending in 0 or 5. For
example, a frame with the time code 00:00:20:20 or 00:00:20:25 would be
considered an A frame, and therefore would be used as the first frame in a
pulldown sequence.
In the case of batch captures, when the first frame of a clip that is to be captured
might not always be an A frame, Matrox Axio advances to the next instance of an
A frame in the clip to start the pulldown sequence (if it’s required). In order for
Matrox Axio to perform standard reverse 2:3 pulldown accurately, the clips must
have A frames appearing at time codes 0 and 5. The clips must also be recorded
to a tape that has continuous, non-drop frame time code.

Advanced 2:3:3:2 pulldown

Advanced 2:3:3:2 pulldown was developed as an alternative to the standard
pulldown method for making frame rate conversions in DV video. It is used to
convert 486p @ 23.98 fps video to NTSC (486i @ 29.97 fps) video. This
conversion is used when video footage is acquired by a DV camera at 23.98 fps
and recorded to DV tape with the recorder set for advanced pulldown (called
24PA or 24P Advanced mode on some devices). Advanced 2:3:3:2 pulldown
differs from standard 2:3 pulldown in that the two middle frames of the video
sequence are each converted to three video fields.

Advanced 2:3:3:2 pulldown

196

The following diagram demonstrates the process:

Progressive frames @ 23.98 fps

A B C D

Video fields @ 29.97 fps

a1 a2 b1 b2 b3 c1 c2 c3 d1 d2

Frame A Frame B Frame C Frame D Frame E

Advanced 2:3:3:2 pulldown is accomplished by representing the first frame of

progressive video (frame A) as two fields of video (fields a1 and a2), the second
frame (frame B) as three fields of video (fields b1, b2, and b3), the third frame
(frame C) as three fields (fields c1, c2, and c3), and the fourth frame (frame D) as
two fields (fields d1 and d2).
Performing an advanced reverse pulldown (2:3:3:2 cadence) reverses the process
by converting 29.97 fps interlaced video to 23.98 fps progressive video. This is
achieved by discarding a video frame (two video fields) from the sequence. From
the diagram above, a typical advanced reverse pulldown would discard video
fields b3 and c1. This means that the application can remove video frame C from
the sequence without reading the other frames.
When compared to standard reverse pulldown, advanced reverse pulldown results
in less degradation in the converted video because removing an entire frame from
the sequence leaves the remaining frames in the sequence intact, and therefore
preserves the native generation of the video.

Matrox Axio implementation of advanced

reverse pulldown
The advanced reverse pulldown process is simpler than a standard reverse 2:3
pulldown because the additional frame, video frame C in the diagram above, is
tagged when the 23.98 fps progressive footage is recorded to tape. This
information is present in the DV stream and when Matrox Axio performs an
advanced reverse pulldown, it reads this information to identify the additional
frame that is then removed from the sequence. Matrox Axio can perform
advanced reverse pulldown on clips that have been recorded to a DV tape that has
continuous drop-frame or non-drop frame time code.

Appendix A, Understanding Standard and Advanced Pulldown

 B
Matrox Axio Workflows
This appendix provides
information about working with
different types of sequences in
Adobe Premiere Pro. It
describes the various Matrox
codecs and video formats that
you can use to complete your
video projects.
198

Overview
This appendix provides general information about using various Matrox Axio
sequence presets and codecs for working with different types of sequences in
Adobe Premiere Pro. Workflow diagrams and descriptions are used to help
explain the specific workflow details.

Working with SD “24P” material

Matrox Axio allows you to choose a Premiere Pro preset to work with SD
material originally acquired at 23.98 fps or 24 fps. When you select the Matrox
486p @ 23.98 fps sequence preset, you can edit SD material as 23.98 fps
progressive video as long as the source video was originally acquired at 23.98 fps
or 24 fps. This includes video that was captured to tape by a camera capable of
shooting 486p @ 23.98 fps video, and SD film footage that was shot at 24 fps,
then transferred to tape by telecine processing. You cannot use the 486p @
23.98 fps sequence preset to capture or edit video that was originally acquired as
NTSC or PAL.
Regardless of its origin, SD material that is acquired at 23.98 fps (or 24 fps then
transferred to video tape using telecine processing) must undergo a format
conversion to NTSC (486i @ 29.97 fps) when it is recorded to tape. This means
that the output from your source device and input to Matrox Axio is always
NTSC. Your source device outputs the 23.98 fps material as NTSC by applying a
pulldown method when it records the material.
Some DV cameras that are capable of shooting 23.98 fps progressive video have
the option of performing either a standard or advanced pulldown for recording
material to tape. Matrox Axio allows you to capture 486p @ 23.98 fps DV
material natively over the 1394 interface to a Matrox .m2v file so that you can
import the file to Adobe Encore for DVD authoring. During capture, Matrox
Axio detects the original pulldown method in the DV stream, and then performs
either a standard or advanced reverse pulldown.
For film footage shot at 24 fps, standard 2:3 pulldown is the method most often
used in the telecine process to insert the additional video fields required for the
24 fps to 29.97 fps conversion. In this case, Matrox Axio performs a standard
reverse 2:3 pulldown during capture of analog or SDI video. To do this, Matrox
Axio identifies the A frames of a sequence as those frames that have time code
ending in 0 or 5. The analog or SDI output from your 486p @ 23.98 fps sequence
on Matrox Axio is always NTSC. Axio provides the option to apply either an
advanced or standard pulldown. In most cases, you would want to perform a
standard 2:3 pulldown when you export your 486p @ 23.98 fps sequence to tape.
For more information about pulldown, see Appendix A, “Understanding
Standard and Advanced Pulldown.”

Appendix B, Matrox Axio Workflows

 199

486p @ 23.98 fps workflow example

The following diagram illustrates typical 486p @ 23.98 fps workflows using
Matrox Axio:

Analog or SDI DV-1394 input

input /output (capture to Matrox
(capture to .m2v file) and import
Matrox .avi file) to Adobe Encore

SD video
footage
Film footage
acquired at
shot
Film footage 23.98 fps
at 24 fps
telecined and progressive
Camera performs
transferred to an SD scan
either standard or
video tape format. advanced pulldown
Standard 2:3 (depending on mode
pulldown is selection) when the
performed with A acquired footage is
frames appearing at recorded to tape.
NTSC video NTSC video
time codes 0 and 5.
on tape on tape

Matrox Axio detects

Matrox Axio original pulldown
performs standard method, then performs
reverse pulldown either a standard or
(2:3 cadence). advanced reverse
pulldown during
capture.
Matrox Axio
486p @ 23.98 fps
sequence
Matrox Axio
performs
standard 2:3
pulldown.

Exported to Exported to disk, Matrox .m2v

tape as such as to a Matrox file imported
NTSC video .avi file to Adobe
for broadcast Encore

¦ Note You can also capture DV clips natively over the 1394 interface using the
Adobe Premiere Pro DV capture format as explained in your Adobe Premiere Pro
documentation. If you want to export your 486p @ 23.98 fps sequence to a
DV-1394 device, you must copy or import your sequence to a native Adobe
Premiere Pro DV-24p sequence.

Working with SD “24P” material

200

Working with HD material

Matrox Axio provides Premiere Pro sequence presets for many of the common
HD video formats, and several Matrox HD video codecs that allow you to capture
and export your video at different video qualities. You can capture your footage
using the appropriate codec for the source material and then combine the footage
as needed. For example, you can mix MPEG-2 I-frame HD, DVCPRO HD, and
uncompressed HD clips in the same sequence. For more information about
working with Matrox codecs in your HD sequences, see the next section, “About
the Matrox HD codecs.”
In some cases, Matrox Axio applies a pulldown method so that you can capture
an HD video format (input format) that is different from the HD format that’s
defined by your sequence settings. For example, to capture 1080i @ 29.97 fps
source video for use in a 1080p @ 23.98 fps sequence, Axio will perform a
standard reverse pulldown on your input video during capture. For more
information about how pulldown can be applied in your HD sequence, see
“Applying pulldown in HD sequences” on page 206.

About the Matrox HD codecs

When creating an HD video sequence, there are a number of editing decisions
that must be made, including the selection of an appropriate HD video codec.
Your Matrox Axio system provides you with different HD video codecs to
perform offline edits and finishing-quality online edits. The following provides a
summary of some Matrox HD video codecs and their most suitable uses:
• Matrox MPEG-2 I-frame HD codec Captures and exports video to an
MPEG-2 I-frame HD format that produces high-quality, low bit-rate video
that can be used for either online or offline editing. The Matrox VFW
MPEG-2 I-frame HD codec allows you to render material to full HD video
using VFW applications, such as Adobe After Effects. For examples of
workflows that use the Matrox MPEG-2 I-frame HD codec, see “Using the
Matrox MPEG-2 I-frame HD codec for online editing” on page 201, and
“Using the Matrox MPEG-2 I-frame HD codec for offline editing” on
page 202.
• Matrox 8-bit and 10-bit Uncompressed HD codecs Capture and export
video to full-resolution, finishing-quality HD video for online editing. The
Matrox VFW Uncompressed HD codecs allow you to render material to
full-resolution, finishing-quality HD video for use with Matrox Axio using
VFW applications, such as Adobe After Effects. For an example of a
workflow that uses the Matrox 8-bit or 10-bit Uncompressed HD codec, see
“Using the Matrox 8-bit and 10-bit Uncompressed HD codecs” on page 205.
• Matrox DVCPRO HD codec Captures and exports video to
full-resolution, finishing-quality DVCPRO HD format for online editing.

Appendix B, Matrox Axio Workflows

 201

This codec is supported only for 1080i and 720p sequences (in 1080p
sequences, DVCPRO HD clips are supported for playback only). The
Matrox VFW DVCPRO HD codec lets you render material to DVCPRO HD
format using VFW applications, such as Adobe After Effects.
¦ Note The Matrox VFW MPEG-2 I-frame and Uncompressed codecs are also
available in “+ Alpha” versions that let you render compositions to an .avi file
that includes the alpha-key information. For details, see Chapter 11, “Using the
Matrox Video for Windows Codecs.”

Using the Matrox MPEG-2 I-frame HD codec

for online editing
The Matrox MPEG-2 I-frame HD codec allows you to control the data rate of the
video that you are capturing or exporting. At high data rates (100 Mb/sec or
higher), the codec can be used to capture high-quality video for online editing,
and uses less disk space than required for uncompressed video. For HD projects
that do not need uncompressed video data for compositing, the MPEG-2 I-frame
HD codec can be used to export finishing-quality HD broadcast video. The
Matrox VFW MPEG-2 I-frame HD codec allows you to render and play back
MPEG-2 I-frame HD clips in VFW applications, such as Adobe After Effects.

MPEG-2 I-frame HD codec workflow example

for online editing
In this workflow example, the Matrox MPEG-2 I-frame HD codec is used to
capture video clips for online editing. The clips are captured with Matrox Axio at
a data rate of 100 Mb/sec or higher and then used to complete an online editing
sequence in Adobe Premiere Pro. A VFW application is also used to render the
clips in a compositing project using the Matrox VFW MPEG-2 I-frame HD
codec. When the edit is complete, it is exported to tape for broadcast.

Using the Matrox MPEG-2 I-frame HD codec for online editing

202

This workflow scenario is represented in the following diagram:

Video footage shot as any

supported HD format

Matrox MPEG-2 I-frame HD codec MPEG-2 I-frame HD clips

set at 100 Mb/sec or higher used to used in a VFW application on
capture clips the Axio system or an offline
editing station.

VFW application, such as

Adobe After Effects, uses
the MPEG-2 I-frame HD
Matrox online editing sequence clips. The compositing
project is rendered using
the Matrox VFW MPEG-2
I-frame HD codec.

Clips rendered using

Exported to tape as finishing-quality the Matrox VFW
HD video for broadcast MPEG-2 I-frame HD
codec are imported into
the online editing
sequence.

Using the Matrox MPEG-2 I-frame HD codec

for offline editing
You can use the Matrox MPEG-2 I-frame HD codec to capture clips at a low data
rate of 50 Mb/sec for offline editing. You can then edit the offline sequence on
your Axio system, and later recapture the clips at a high quality to complete your
sequence as finishing-quality HD video for broadcast. This workflow is
described in “MPEG-2 I-frame HD codec workflow example for offline editing
on an Axio system” on page 203.”
As an alternative, you can transfer your project and the offline-quality clips
you’ve captured to a remote editing workstation, such as a laptop, to complete
your offline edit using Adobe Premiere Pro with the Matrox VFW MPEG-2
I-frame HD codec (see “Installing the Matrox VFW software codecs on a system
without the Axio hardware” on page 47). Once your edit is complete, you
transfer the project back to your Axio system so that you can recapture your clips
at a high quality and create a finishing-quality project for broadcast. This
workflow is described in “MPEG-2 I-frame HD workflow example for offline
editing on a remote system” on page 204.

Appendix B, Matrox Axio Workflows

 203

MPEG-2 I-frame HD codec workflow example

for offline editing on an Axio system
In this workflow example, the Matrox MPEG-2 I-frame HD codec is used to
capture video clips for offline editing. The clips are captured with Matrox Axio at
a data rate of 50 Mb/sec and then used to complete an offline editing sequence.
When the offline edit is complete, the project is trimmed (using the Adobe
Premiere Pro Project Manager), and the offline-quality clips are unlinked and
then recaptured using a finishing-quality HD video codec, such as the Matrox
MPEG-2 I-frame HD codec at a data rate of 100 Mb/sec or higher or a Matrox
Uncompressed HD codec. The online editing sequence is then exported to tape
for broadcast.
This workflow scenario is represented in the following diagram:

Video footage shot as any Matrox MPEG-2 I-frame HD

supported HD format codec set at 50 Mb/sec used
to capture clips

Matrox offline editing

sequence

Project is trimmed, offline-

quality clips are unlinked and
recaptured usng a finishing-
quality HD codec, such as
MPEG-2 I-frame HD at
100 Mb/sec or higher

Exported to tape as finishing-

quality HD video for broadcast

Using the Matrox MPEG-2 I-frame HD codec for offline editing

204

MPEG-2 I-frame HD workflow example for

offline editing on a remote system
In this workflow example, the Matrox MPEG-2 I-frame HD codec is used to
capture video clips for use in an offline editing project that is to be completed on
a remote editing system. Because the remote system has the Matrox VFW
software codecs installed, the system can be used with Adobe Premiere Pro to
produce the offline edit (the project will open in Desktop mode). When the
offline edit is complete and trimmed, the Premiere Pro project (.prproj) file is
transferred back to the Matrox Axio system. The offline-quality clips are then
unlinked and recaptured as high-quality clips using the Matrox MPEG-2 I-frame
HD codec at a high data rate, or a Matrox Uncompressed HD codec. The final
online editing sequence is then exported to tape for broadcast.
This workflow scenario is represented in the following diagram:

Video footage Matrox MPEG-2 I- Offline project

shot as any frame HD codec set at and clips
supported HD 50 Mb/sec used to transferred to
format capture clips remote system.

Remote editing
system with Matrox
VFW codecs
installed. The offline
Matrox Axio offline edit is completed and
editing sequence trimmed on the
system using Adobe
Premiere Pro (the
project will open in
Desktop mode)

Offline edit
Offline-quality clips are Premiere Pro
unlinked and recaptured project
using a finishing-quality (.prproj) file
HD codec, such as transferred to
MPEG-2 I-frame HD at Matrox Axio
100 Mb/sec or higher system.

Exported to tape as
finishing-quality HD
video for broadcast

Appendix B, Matrox Axio Workflows

 205

Using the Matrox 8-bit and 10-bit

Uncompressed HD codecs
For short video projects or when disk space is not an issue, the Matrox
Uncompressed HD codecs can be used to capture full-resolution,
finishing-quality HD video. The Matrox VFW Uncompressed HD codecs allow
you to use VFW applications, such as Adobe After Effects, to render and play
back uncompressed HD video for use on Matrox Axio.

Matrox Uncompressed codec workflow

example
In this workflow example, a Matrox Uncompressed HD codec is used to capture
material for online editing. Some of these clips are transferred to a compositing
workstation that has the Matrox VFW Uncompressed codecs installed. After
compositing using a VFW application such as Adobe After Effects, the clips are
rendered for use on Matrox Axio using the Matrox VFW Uncompressed HD
codec. The online editing sequence is then completed on the Axio system and
exported to tape for broadcast.
This workflow scenario is represented in the following diagram:

Video footage shot as any

supported HD format

Uncompressed
Matrox 8-bit or 10-bit HD clips
Uncompressed HD codec used to transferred to
capture clips compositing
workstation.

Compositing workstation
with the Matrox VFW
codecs installed uses a
VFW application such as
Matrox online editing sequence Adobe After Effects. The
completed compositing
project is rendered using a
Matrox VFW
Uncompressed HD codec.

Clips rendered using

Exported to tape as finishing-quality the Matrox VFW
HD video for broadcast Uncompressed HD
codec are imported
into the online
editing sequence.

Using the Matrox 8-bit and 10-bit Uncompressed HD codecs

206

Applying pulldown in HD sequences

Depending on your HD sequence settings, Matrox Axio applies a pulldown
method so that you can capture an HD video format (input format) that is
different from your sequence’s format. For example, when working in a 1080p @
23.98 fps sequence, you can capture 1080i @ 29.97 fps source video and use it in
your 1080p @ 23.98 sequence as long as the material was originally acquired at
23.98 fps or 24 fps. This includes film footage that was shot at 24 fps, then
transferred to tape as 1080i @ 29.97 fps using a telecine process. In this case,
Matrox Axio performs a standard reverse pulldown when it captures 1080i @
29.97 fps material for use in a 1080p @ 23.98 fps sequence.
You can output your completed 1080p @ 23.98 fps sequence to 1080PsF @
23.98 fps, 1080i @ 29.97 fps, or NTSC format. To output the sequence as 1080i
@ 29.97 fps or NTSC, a standard 2:3 pulldown is performed to convert your
video to the appropriate format.
Remarks
• Material shot by an HD video camera at 1080i @ 29.97 fps (non-telecined
material) is not suitable for use in a 1080p @ 23.98 fps sequence. Instead,
use a 1080i @ 29.97 fps sequence for working with this material.
• If you want to capture and edit HDV 1080p @ 23.98 fps clips, you can create
a 1440×1080p @ 23.98 fps sequence, which supports capturing HDV
material natively over the 1394 interface using the Adobe Premiere Pro HDV
capture format. You can output your completed 1440 ×1080p @ 23.98 fps
sequence to 1080PsF @ 23.98 fps, 1080i @ 29.97 fps, or NTSC format. To
output the sequence as 1080i @ 29.97 fps or NTSC, a standard 2:3 pulldown
is performed to convert your video to the appropriate format.

Appendix B, Matrox Axio Workflows

 207

1080p @ 23.98 fps workflow example

The following diagram provides a typical workflow for working with a 1080p @
23.98 fps online editing sequence on Matrox Axio:

HD video footage shot as Matrox Axio performs

1080p @ 23.98 fps standard reverse pulldown
with A frames appearing at
time codes 0 and 5.

Film footage shot at Matrox finishing-quality Film footage shot at

24 fps and transferred HD (MPEG-2 I-frame HD 24 fps and transferred
by telecine to or Uncompressed HD) by telecine to
1080p @ 23.98 fps codec used to capture 1080i @ 29.97 fps
HD video clips HD video

Matrox
1080p @ 23.98 fps
sequence
Matrox Axio
performs
standard
pulldown.

Exported to disk,
Exported to tape as such as to an Exported to tape as Exported to tape as
1080PsF @ 23.98 MPEG-2 file for 1080i @ 29.97 fps NTSC finishing-
fps finishing-quality DVD authoring, or a finishing-quality quality video for
video for broadcast Matrox .avi file video for broadcast broadcast

Applying pulldown in HD sequences

208

Other Matrox Axio HD workflows

720p workflow example
Matrox Axio supports creating 720p sequences at 23.98 fps, 25 fps, 29.97 fps,
50 fps, and 59.94 fps. If you’re working with a 720p @ 23.98 fps or 25 fps
sequence, Matrox Axio supports capturing Panasonic VariCam material (you
must select Enable VariCam capture when you perform the capture). In this
case, Axio will remove the redundant frames from the VariCam input during
capture and create a clip in the same format as your sequence for editing.
Depending on your sequence’s video format, you can export your sequence to
tape as 720p @ 50 fps or 59.94 fps video, or downconvert the video to NTSC or
PAL. You can also export over the 1394 interface to DVCPRO HD for a 720p @
59.94 fps sequence.
¦ Note SDI and analog component input is not supported for 720p @ 23.98 fps,
25 fps, and 29.97 fps sequences, and DVCPRO HD capture over the 1394
interface is not supported for 720p @ 50 fps sequences.

Appendix B, Matrox Axio Workflows

 209

The following diagram illustrates a typical workflow for a 720p sequence using
Matrox Axio:

Film footage telecined

and transferred to HD
video tape.

HD video footage
shot as 720p video on tape
720p

When capturing
Panasonic VariCam
Matrox finishing-quality material, Axio will
codec (such as MPEG-2 remove the redundant
I-frame HD) used to frames and create a
capture clips, or clip in your sequence’s
DVCPRO HD clips format for editing (for
captured natively over 720p @ 23.98 fps and
the 1394 interface 25 fps sequences
only).

Matrox 720p sequence

Exported to tape as Exported to tape Exported to disk,

Exported to 720p @ 50 fps or as NTSC or PAL such as to an
DVCPRO HD over 59.94 fps finishing- finishing-quality MPEG-2 file for
the 1394 interface quality video for video for DVD authoring,
broadcast broadcast or a Matrox .avi
file

¦ Note You can also capture HDV clips natively over the 1394 interface using
the Adobe Premiere Pro HDV capture format as explained in your Adobe
Premiere Pro documentation.

Other Matrox Axio HD workflows

210

1080i workflow example

When working in a 1080i @ 25 fps or 29.97 fps sequence, you can capture
analog component or SDI video using a Matrox HD codec, as well as capture
DVCPRO HD video natively over the 1394 interface. You can export your
sequence to tape in the same format as your sequence, or you can choose to
downconvert the video to NTSC or PAL (NTSC for a 1080i @ 29.97 fps
sequence, or PAL for a 1080i @ 25 fps sequence). You can also export your
sequence natively over the 1394 interface to a DVCPRO HD device.
¦ Note If you want to capture and edit only HDV clips, you should create a
1440 ×1080i/p @ 25 fps or 29.97 fps sequence. A 1440×1080i/p sequence
provides better editing performance than a full-size 1080i/p (1920×1080)
sequence, and supports capturing HDV material natively over the 1394 interface
using the Adobe Premiere Pro HDV capture format. A 1440×1080i @ 25 fps or
29.97 fps sequence also supports capturing analog component or SDI video to
Matrox MPEG-2 I-frame HD format.

Appendix B, Matrox Axio Workflows

 211

The following diagram provides a typical workflow for working with a 1080i @
25 fps or 29.97 fps sequence on Matrox Axio:

Film footage telecined and

transferred to HD tape.
Standard 2:3 pulldown
performed (for converting to
1080i @ 29.97 fps video only).

Film footage shot 1080i video on tape

at 24 fps

Matrox finishing-quality
codec (such as MPEG-2
I-frame HD) used to
capture clips, or
DVCPRO HD clips
captured natively over
the 1394 interface

Matrox 1080i sequence

Exported to disk, Exported to tape

Exported to Exported to tape such as to an
as 1080i as NTSC or PAL
DVCPRO HD MPEG-2 file for finishing-quality
over the 1394 finishing-quality DVD authoring,
video for video for
interface or a Matrox .avi broadcast
broadcast file

¦ Note You can also capture HDV clips natively over the 1394 interface using
the Adobe Premiere Pro HDV capture format as explained in your Adobe
Premiere Pro documentation.

Other Matrox Axio HD workflows

212

1080p @ 24 fps workflow example

When working with a 1080p @ 24 fps sequence, your input and output formats
must also be 1080p @ 24 fps.
¦ Note A 1080p @ 24 fps sequence can be created and edited on a Matrox Axio
HD or LE system only.
The following diagram illustrates a typical workflow for working with a 1080p
@ 24 fps sequence on Matrox Axio:
Film footage
transferred to HD
video tape.

Film footage shot

at 24 fps or 1080p @ 24 fps
animation files video on tape
rendered @ 24 fps

Matrox finishing-quality
HD (MPEG-2 I-frame HD
or Uncompressed HD)
codec used to capture
clips

Matrox
1080p @ 24 fps
sequence

Exported to tape as
1080p @ 24 fps
finishing-quality HD video
for broadcast

Appendix B, Matrox Axio Workflows

 213

Editing HD sequences on a Matrox Axio SD

system
Your collaborative workflow can be even more flexible and affordable with the
ability to edit HD sequences on a Matrox Axio SD system. In other words, HD
sequence sharing can be done seamlessly between Matrox Axio HD, SD, and LE
systems. When you open an Adobe Premiere project with an HD sequence on
Matrox Axio SD, the sequence’s video output is automatically downconverted to
NTSC or PAL depending on the sequence’s video format, and the video
processing format is set to 8-bit. Because of the high-quality downconverting,
you can use SD video monitors to preview your HD edits.
All Matrox Axio systems support native HDV and DVCPRO HD capture (for
HDV capture, however, you must use the Adobe Premiere Pro HDV capture
format). Although you can’t capture HD clips using analog or SDI input on a
Matrox Axio SD system, you can capture HDV and DVCPRO HD clips natively
over the 1394 interface for editing in your HD sequences. You can also import
supported disk-based clips, such as .mxf and .mp4 files, to your HD sequences on
Matrox Axio HD or SD.
When you’re ready to deliver your final HD sequence, you can use your Matrox
Axio SD system to export to SD format (downconvert the HD video to NTSC or
PAL), or export to DVCPRO HD format over the 1394 interface. To export to an
HDV device over the 1394 interface, you must copy or import your Matrox
sequence into a native Adobe Premiere Pro HDV sequence.
¦ Note You can’t edit a 1080p @ 24 fps sequence on Matrox Axio SD.

Editing HD sequences on a Matrox Axio SD system

214

The following diagram illustrates a typical workflow for editing HD projects on a

Matrox Axio SD system:

Matrox Axio HD or LE Matrox Axio SD

HDV or Clips HDV or DVCPRO
DVCPRO HD captured from HD clips captured
clips captured SDI input natively over the
natively over using any HD 1394 interface
the 1394 codec
interface

HD video HD video
footage Matrox HD sequence Matrox HD sequence footage
from .mxf (except 1080p @ 24 (except 1080p @ 24 from .mxf
and .mp4 fps) fps) and .mp4
files files

Clips and project are

stored on a shared
storage device. The
project can then be Deliver as SD, or
Deliver as HD or SD opened on Matrox deliver as HD over
Axio HD, SD, or LE the 1394 interface
for editing.

Appendix B, Matrox Axio Workflows

 215

Supported video compression formats

Matrox Axio LE
SD sequence HD sequence

DV-1394 input:
DV/DVCAM, DVCPRO,
DVCPRO HD2
and DVCPRO50
SDI and analog component
8- and 10-bit Uncompressed
Capture1 input3:
MPEG-2 I-frame
DVCPRO HD2
MPEG-2 IBP (for capture to
8- and 10-bit Uncompressed
.m2v files only)
MPEG-2 I-frame HD4
DV/DVCAM, DVCPRO,
DVCPRO HD2
and DVCPRO50
8- and 10-bit Uncompressed
8- and 10-bit Uncompressed
Playback5 MPEG-2 I-frame HD
MPEG-2 I-frame
Offline HD (for playback of
Legacy Matrox DigiSuite
legacy Offline HD projects)
and RT-series files
All Matrox codecs are avail- All Matrox codecs are avail-
Export to disk
able for VFW export able for VFW export
DVCPRO HD (1080i only)
Render 8- and 10-bit Uncompressed
8- and 10-bit Uncompressed
previews MPEG-2 I-frame
MPEG-2 I-frame HD4
DV-1394
Not supported in a Matrox
export to DVCPRO HD2
sequence
tape6
1
If you want to capture DV material other than DVCPRO HD natively over the 1394
interface, you must use a native Adobe Premiere Pro DV or HDV capture format as
explained in your Adobe Premiere Pro documentation.
2
DVCPRO HD is supported only for 1080i, 1080p @ 29.97 fps, and 720p sequences
(DV-1394 capture is not supported for 720p @ 50 fps sequences). DV-1394 export to
DVCPRO HD is supported only for 1080i and 720p @ 59.94 fps sequences.
3
Analog and SDI input is not supported for 486p @ 29.97 fps, 576p @ 25 fps,
1440 × 1080p, and 720p @ 23.98 fps, 25 fps, and 29.97 fps sequences.
4
When working with a 1440 × 1080i/p sequence, MPEG-2 I-frame HD is the only
supported compression format for capturing analog and SDI video (1440 × 1080i only),
and rendering previews.
5
Realtime playback also includes formats supported by Adobe Premiere Pro, such as
XDCAM EX, P2, and AVCHD. For more information, see “A note about realtime
playback capabilities” on page 53.
6
If you want to export your sequence to a DV-1394 device other than DVCPRO HD, you
need to copy or import your Matrox sequence into a native Adobe Premiere Pro
sequence. For more details on exporting to tape, see “Exporting your sequence to tape”
on page 101.

Supported video compression formats

216

Matrox Axio HD
SD sequence HD sequence

DV/DVCAM, DVCPRO, DV-1394 input:

and DVCPRO50 DVCPRO HD2
8- and 10-bit Uncompressed SDI input3:
Capture1
MPEG-2 I-frame DVCPRO HD2
MPEG-2 IBP (for capture to 8- and 10-bit Uncompressed
.m2v files only) MPEG-2 I-frame HD4
DV/DVCAM, DVCPRO,
DVCPRO HD2
and DVCPRO50
8- and 10-bit Uncompressed
8- and 10-bit Uncompressed
Playback5 MPEG-2 I-frame HD
MPEG-2 I-frame
Offline HD (for playback of
Legacy Matrox DigiSuite
legacy Offline HD projects)
and RT-series files
All Matrox codecs are avail- All Matrox codecs are avail-
Export to disk
able for VFW export able for VFW export
DVCPRO HD (1080i only)
Render 8- and 10-bit Uncompressed
8- and 10-bit Uncompressed
previews MPEG-2 I-frame
MPEG-2 I-frame HD4
DV-1394
Not supported in a Matrox
export to DVCPRO HD2
sequence
tape6
1
If you want to capture DV material other than DVCPRO HD natively over the 1394
interface, you must use a native Adobe Premiere Pro DV or HDV capture format as
explained in your Adobe Premiere Pro documentation
2
DVCPRO HD is supported only for 1080i, 1080p @ 29.97 fps, and 720p sequences
(DV-1394 capture is not supported for 720p @ 50 fps sequences). DV-1394 export to
DVCPRO HD is supported only for 1080i and 720p @ 59.94 fps sequences.
3
SDI input is not supported for 486p @ 29.97 fps, 576p @ 25 fps, 1440 × 1080p, and
720p @ 23.98 fps, 25 fps, and 29.97 fps sequences.
4
When working with a 1440 × 1080i/p sequence, MPEG-2 I-frame HD is the only
supported compression format for capturing SDI video (1440 × 1080i only), and
rendering previews.
5
Realtime playback also includes formats supported by Adobe Premiere Pro, such as
XDCAM EX, P2, and AVCHD. For more information, see “A note about realtime
playback capabilities” on page 53.
6
If you want to export your sequence to a DV-1394 device other than DVCPRO HD, you
need to copy or import your Matrox sequence into a native Adobe Premiere Pro
sequence. For more details on exporting to tape, see “Exporting your sequence to tape”
on page 101.

Appendix B, Matrox Axio Workflows

 217

Matrox Axio SD
HD sequence
SD sequence
(video processing is set to 8-bit)

DV/DVCAM, DVCPRO,
and DVCPRO50
8- and 10-bit Uncompressed DV-1394 input only:
Capture1
MPEG-2 I-frame DVCPRO HD2
MPEG-2 IBP (for capture to
.m2v files only)
DV/DVCAM, DVCPRO,
DVCPRO HD2
and DVCPRO50
8-bit Uncompressed
8- and 10-bit Uncompressed
Playback3 MPEG-2 I-frame HD
MPEG-2 I-frame
Offline HD (for playback of
Legacy Matrox DigiSuite
legacy Offline HD projects)
and RT-series files
All Matrox codecs are avail- All Matrox codecs are avail-
Export to disk
able for VFW export able for VFW export
DVCPRO HD (1080i only)
Render 8- and 10-bit Uncompressed
8-bit Uncompressed
previews MPEG-2 I-frame
MPEG-2 I-frame HD4
DV-1394
Not supported in a Matrox
export to DVCPRO HD2
sequence
tape5
1
If you want to capture DV material other than DVCPRO HD natively over the 1394
interface, you must use a native Adobe Premiere Pro DV or HDV capture format as
explained in your Adobe Premiere Pro documentation.
2
DVCPRO HD is supported only for 1080i, 1080p @ 29.97 fps, and 720p sequences
(DV-1394 capture is not supported for 720p @ 50 fps sequences). DV-1394 export to
DVCPRO HD is supported only for 1080i and 720p @ 59.94 fps sequences.
3
Realtime playback also includes formats supported by Adobe Premiere Pro, such as
XDCAM EX, P2, and AVCHD. For more information, see “A note about realtime
playback capabilities” on page 53.
4
When working with a 1440 × 1080i/p sequence, MPEG-2 I-frame HD is the only
supported compression format for rendering previews.
5
If you want to export your sequence to a DV-1394 device other than DVCPRO HD, you
need to copy or import your Matrox sequence into a native Adobe Premiere Pro
sequence. For more details on exporting to tape, see “Exporting your sequence to tape”
on page 101.

Supported video compression formats

218

Supported main and secondary SDI output

formats on Matrox Axio LE
The following table lists the supported main and secondary SDI output formats
for Matrox Axio LE depending on your sequence’s video format.

Sequence video Supported main SDI Supported secondary

format output formats SDI output formats
NTSC NTSC NTSC
PAL PAL PAL
486p @ 23.98 fps NTSC NTSC
486p @ 29.97 fps NTSC NTSC
576p @ 25 fps PAL PAL
720p @ 23.98 fps 720p @ 59.94 fps NTSC
720p @ 25 fps 720p @ 50 fps PAL
720p @ 29.97 fps 720p @ 59.94 fps NTSC
720p @ 50 fps 720p @ 50 fps PAL
720p @ 59.94 fps 720p @ 59.94 fps NTSC
1440× 1080i @ 25 fps 1080i @ 25 fps PAL
1440× 1080i @ 29.97 fps 1080i @ 29.97 fps NTSC
1080PsF @ 23.98 fps or 1080i
1440× 1080p @ 23.98 fps @ 29.97 fps NTSC

1440× 1080p @ 25 fps 1080PsF @ 25 fps PAL

1440× 1080p @ 29.97 fps 1080PsF @ 29.97 fps NTSC
1080i @ 25 fps 1080i @ 25 fps PAL
1080i @ 29.97 fps 1080i @ 29.97 fps NTSC
1080PsF @ 23.98 fps or
1080p @ 23.98 fps NTSC
1080i @ 29.97 fps
1080p @ 24 fps 1080PsF @ 24 fps not supported
1080p @ 25 fps 1080PsF @ 25 fps PAL
1080p @ 29.97 fps 1080PsF @ 29.97 fps NTSC
¦ Note The analog outputs on Matrox Axio LE can be set to the same format as
your main or secondary SDI output. If you’re working with an SD sequence or a
1080p @ 24 fps sequence, however, the analog output will be set to the same
format as the main SDI output.

Appendix B, Matrox Axio Workflows

 219

Supported master output formats on Matrox

Axio HD and SD
The following table lists the supported master output formats for Matrox Axio
HD and SD depending on your sequence’s video format.

Supported master Supported master

Sequence video
output formats on output formats on
format
Matrox Axio HD Matrox Axio SD
NTSC NTSC NTSC
PAL PAL PAL
486p @ 23.98 fps NTSC NTSC
486p @ 29.97 fps NTSC NTSC
576p @ 25 fps PAL PAL
720p @ 23.98 fps 720p @ 59.94 fps or NTSC NTSC
720p @ 25 fps 720p @ 50 fps or PAL PAL
720p @ 29.97 fps 720p @ 59.94 fps or NTSC NTSC
720p @ 50 fps 720p @ 50 fps or PAL PAL
720p @ 59.94 fps 720p @ 59.94 fps or NTSC NTSC
1440× 1080i @ 25 fps 1080i @ 25 fps or PAL PAL
1440× 1080i @ 29.97 fps 1080i @ 29.97 fps or NTSC NTSC
1080PsF @ 23.98 fps, 1080i
1440× 1080p @ 23.98 fps @ 29.97 fps, or NTSC NTSC

1440× 1080p @ 25 fps 1080PsF @ 25 fps or PAL PAL

1440× 1080p @ 29.97 fps 1080PsF @ 29.97 fps or NTSC NTSC
1080i @ 25 fps 1080i @ 25 fps or PAL PAL
1080i @ 29.97 fps 1080i @ 29.97 fps or NTSC NTSC
1080PsF @ 23.98 fps, 1080i
1080p @ 23.98 fps NTSC
@ 29.97 fps, or NTSC
1080p @ 24 fps 1080PsF @ 24 fps not supported
1080p @ 25 fps 1080PsF@ 25 fps or PAL PAL
1080p @ 29.97 fps 1080PsF @ 29.97 fps or NTSC NTSC

Supported master output formats on Matrox Axio HD and SD

220

Your notes

Appendix B, Matrox Axio Workflows

 C
Matrox Axio Specifications
This appendix provides
specifications for the Matrox
Axio cards, as well as the
X.linkHD and X.linkSD breakout
boxes.
222

X.io card
General
PCI interface Full-size PCI-X 66/100 MHz card
Regulatory compliance FCC Class A, CE Mark Class A, ACA Class A,
RoHS Directive 2002/95/EC
Nominal card dimensions Card 31 cm × 10.7 cm (12.2” × 4.2”)
Card including bracket 35.2 cm × 12.4 cm
(13.875” × 4.9”)
Overall thickness including components 1.9 cm
(0.75”)

Typical operating voltages and current

consumption
Voltage +3.3 V +5 V +12 V –12 V
Current 0.26 A 0.5 A 0.05 A 0.0 A
Total power consumption: 4.0 watts

Environmental specifications
• Minimum/maximum card ambient operating temperatures: 0 to 55º C
• Minimum/maximum storage temperature: –40 to 75º C
• Maximum altitude for operation: 3,000 meters
• Maximum altitude for transport: 12,000 meters
• Operating humidity: 20 to 80% relative humidity (non-condensing)
• Storage humidity: 5 to 95% relative humidity (non-condensing)
¡ Important To avoid damage to your Matrox Axio components and/or
computer system, make sure that you don’t operate your Axio cards at or near the
maximum operating temperature for a prolonged period of time (see “Monitoring
your Axio hardware operating temperatures” on page 191 for more information).

Appendix C, Matrox Axio Specifications

 223

X.linkSD breakout box

General
Video standards NTSC, PAL, NTSC-EIAJ
Dimensions L 32.7 cm × W 8.9 cm × H 7.6 cm
(12.875” × 3.5” × 2.975”)

Typical operating voltages and current

consumption
Voltage +3.3 V +5 V +12 V –12 V
Current 0A 1.2 A 0.9 A 0.18 A
Total power consumption: 19 watts

Video input signals

Signal Type Qty Voltage Impedance

Composite Video 1 1.0 Vp-p 75 Ω

Y/C Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.300 Vp-p burst 75 Ω
(C)
NTSC: 0.286 V p-p burst 75 Ω
NTSC-EIAJ: 0.286 Vp-p burst 75 Ω
Component Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.700 Vp-p at 100% color bar 75 Ω
(B-Y, R-Y)
NTSC: 0.700 Vp-p at 75% color bar 75 Ω
NTSC-EIAJ: 0.757 Vp-p at 75% color 75 Ω
bar
SDI Video 1 Compliant with SMPTE 259M 75 Ω
1394 1 200 mVp-p 110 Ω
Reference In 1 1.0 Vp-p 75 Ω

X.linkSD breakout box

224

Video output signals

Signal Type Qty Voltage Impedance
Composite Video 1 1.0 Vp-p 75 Ω
Y/C Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.300 Vp-p burst 75 Ω
(C)
NTSC: 0.286 V p-p burst 75 Ω
NTSC-EIAJ: 0.286 Vp-p burst 75 Ω
Component Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.700 Vp-p at 100% color bar 75 Ω
(B-Y, R-Y)
NTSC: 0.700 Vp-p at 75% color bar 75 Ω
NTSC-EIAJ: 0.757 Vp-p at 75% color 75 Ω
bar
SDI Video 1 Compliant with SMPTE 259M 75 Ω
1394 1 200 mVp-p 110 Ω

Audio input/output signals

Analog balanced (1 stereo input pair)
Input impedance High impedance
Nominal levels +4 dBu, 18 dB headroom
Analog balanced (1 stereo output pair)
Output impedance 50 Ω
Nominal levels +4 dBu, 18 dB headroom
Gain boost available 110 Ω
Analog unbalanced (1 stereo input pair)
Input impedance High impedance
Nominal levels –10 dBV, 18 dB headroom
Analog unbalanced signal (1 stereo output pair)
Output impedance 100 Ω
Nominal levels –10 dBV, 18 dB headroom

Appendix C, Matrox Axio Specifications

 225

Audio specifications
Sampling frequency 48 kHz (using 64× oversampling)
Quantization 24 bits

Environmental specifications
• Minimum/maximum X.linkSD ambient operating temperatures: 0 to 35º C
• Minimum/maximum storage temperature: –40 to 75º C
• Maximum altitude for operation: 3,000 meters
• Maximum altitude for transport: 12,000 meters
• Operating humidity: 20 to 80% relative humidity (non-condensing)
• Storage humidity: 5 to 95% relative humidity (non-condensing)
¡ Important To avoid damage to your Matrox Axio components and/or
computer system, make sure that you don’t operate your X.linkSD at or near the
maximum operating temperature for a prolonged period of time (see “Monitoring
your Axio hardware operating temperatures” on page 191 for more information).

X.linkSD breakout box

226

X.linkHD breakout box

General
Video standards NTSC, PAL, NTSC-EIAJ, 1080i/PsF, 720p
Dimensions L 32.7 cm × W 8.9 cm × H 7.6 cm
(12.875” × 3.5” × 2.975”)

Typical operating voltages and current

consumption
Voltage +3.3 V +5 V +12 V –12 V
Current 0A 1.2 A 0.9 A 0.18 A
Total power consumption: 19 Watts

Video input signals

Signal Type Qty Voltage Impedance

SD-SDI/HD-SDI 1 Compliant with 75 Ω

SMPTE 259M/SMPTE 292M
1394 1 200 mVp-p 110 Ω
Reference In 1 SD: 1.0 Vp-p 75 Ω
HD: 1.0 Vp-p (tri-sync) 75 Ω

Appendix C, Matrox Axio Specifications

 227

Video output signals

Signal Type Qty Voltage Impedance
Component Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω

Chrominance signal PAL: 0.700 Vp-p at 100% color bar 75 Ω

(B-Y, R-Y)
NTSC: 0.700 Vp-p at 75% color bar 75 Ω

NTSC-EIAJ: 0.757 Vp-p at 75% color 75 Ω

bar
HD: 0.700 Vp-p at 100% color bar 75 Ω
OR
Chrominance signal (R, B): 0.700 Vp-p at 100% color bar 75 Ω
(R, G, B) (HD only) (G): 1Vp-p (with sync) at 100% color 75 Ω
bar
SD-SDI/HD-SDI 1 Compliant with 75 Ω
SMPTE 259M/SMPTE 292M
1394 1 200 mVp-p 110 Ω

Audio input/output signals

Analog balanced (1 stereo output pair)
Output impedance 50 Ω
Nominal levels +4 dBu, 18 dB headroom
Gain boost available 110 Ω
Balanced AES/EBU (2 stereo input pairs)
Input impedance 110 Ω
Max input levels 10 Vp-p diff
Balanced AES/EBU (4 stereo output pairs)
Output impedance 110 Ω
Nominal output levels 5 Vp-p diff

Audio specifications
Sampling frequency 48 kHz (using 64× oversampling)
Quantization 24 bits

X.linkHD breakout box

228

Environmental specifications
• Minimum/maximum X.linkHD ambient operating temperatures: 0 to 35º C
• Minimum/maximum storage temperature: –40 to 75º C
• Maximum altitude for operation: 3,000 meters
• Maximum altitude for transport: 12,000 meters
• Operating humidity: 20 to 80% relative humidity (non-condensing)
• Storage humidity: 5 to 95% relative humidity (non-condensing)
¡ Important To avoid damage to your Matrox Axio components and/or
computer system, make sure that you don’t operate your X.linkHD at or near the
maximum operating temperature for a prolonged period of time (see “Monitoring
your Axio hardware operating temperatures” on page 191 for more information).

Appendix C, Matrox Axio Specifications

 229

Axio LE card
General
PCI interface Full-size PCI Express x4 card,
or full-size PCI-X 66 MHz card
Regulatory compliance FCC Class A, CE Mark Class A, ACA Class A,
RoHS Directive 2002/95/EC
Video standards NTSC, PAL, NTSC-EIAJ, 1080i/PsF, 720p
Nominal card dimensions Card 31 cm × 10.7 cm (12.2” × 4.2”)
Card including bracket 35.2 cm × 12.4 cm
(13.875” × 4.9”)
Overall thickness including components 1.9 cm
(0.75”)

Typical operating voltages and current

consumption (PCI Express card)
Voltage +3.3 V +5 V +12 V

Current 2.2 A 1.5 A 0.5A

Total power consumption: 21.0 watts

Typical operating voltages and current

consumption (PCI-X card)
Voltage +3.3 V +5 V +12 V –12 V
Current 2.0 A 0.5 A 0.5 A 0.15 A
Total power consumption: 18.0 watts

Axio LE card
230

Video input signals

Signal Type Qty Voltage Impedance
Composite Video 1 1.0 Vp-p 75 Ω
OR
Y/C Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.300 Vp-p burst 75 Ω
(C)
NTSC: 0.286 V p-p burst 75 Ω
NTSC-EIAJ: 0.286 Vp-p burst 75 Ω
OR
Component Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.700 Vp-p at 100% color bar 75 Ω
(B-Y, R-Y)
NTSC: 0.700 Vp-p at 75% color bar 75 Ω
NTSC-EIAJ: 0.757 Vp-p at 75% color 75 Ω
bar
HD: 0.700 Vp-p at 100% color bar 75 Ω
SD-SDI/HD-SDI Video 1 Compliant with 75 Ω
SMPTE 259M/SMPTE 292M
Reference In 1 SD: 1.0 Vp-p 75 Ω
HD: 1.0 Vp-p (tri-sync) 75 Ω

Appendix C, Matrox Axio Specifications

 231

Video output signals

Signal Type Qty Voltage Impedance
Composite Video 2 1.0 Vp-p 75 Ω
(see note below)
Y/C Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.300 Vp-p burst 75 Ω
(C)
NTSC: 0.286 V p-p burst 75 Ω
NTSC-EIAJ: 0.286 Vp-p burst 75 Ω
OR
Component Video 1
Luminance signal (Y) 1.0 Vp-p 75 Ω
Chrominance signal PAL: 0.700 Vp-p at 100% color bar 75 Ω
(B-Y, R-Y)
NTSC: 0.700 Vp-p at 75% color bar 75 Ω
NTSC-EIAJ: 0.757 Vp-p at 75% color 75 Ω
bar
HD: 0.700 Vp-p at 100% color bar 75 Ω
SD-SDI/HD-SDI Video 2 Compliant with 75 Ω
(second output is SD SMPTE 259M/SMPTE 292M
only)

¦ Note Only one composite output is available when using analog component
output. Composite output cannot be used when outputting HD analog component
video.

Audio input/output signals

Analog balanced (1 stereo input pair)
Input impedance High impedance
Nominal levels +4 dBu, 18 dB headroom
Analog balanced (3 stereo output pairs)
Output impedance 50 Ω
Nominal levels +4 dBu, 18 dB headroom
Gain boost available 110 Ω

Axio LE card
232

Analog unbalanced (1 stereo output pair)

Output impedance 110 Ω
Nominal levels –10 dBV, 18 dB headroom
Unbalanced AES/EBU (1 stereo input pair)
Input impedance 75 Ω
Max input levels 5 Vp-p
Unbalanced AES/EBU (3 stereo output pairs)
Output impedance 75 Ω
Nominal output levels 1 Vp-p

Audio specifications
Sampling frequency 48 kHz (using 64× oversampling)
Quantization 24 bits

Environmental specifications
• Minimum/maximum card ambient operating temperatures: 0 to 55º C
• Minimum/maximum storage temperature: –40 to 75º C
• Maximum altitude for operation: 3,000 meters
• Maximum altitude for transport: 12,000 meters
• Operating humidity: 20 to 80% relative humidity (non-condensing)
• Storage humidity: 5 to 95% relative humidity (non-condensing)
¡ Important To avoid damage to your Matrox Axio components and/or
computer system, make sure that you don’t operate your Axio LE card at or near
the maximum operating temperature for a prolonged period of time (see
“Monitoring your Axio hardware operating temperatures” on page 191 for more
information).

Appendix C, Matrox Axio Specifications

 D
Matrox Axio Glossary
This glossary defines many of
the terms used in this manual
and related documentation.
234

Glossary of terms
Use this glossary as a reference for many of wipes, and other effects. On nonlinear editing
the basic terms in your Matrox Axio manual systems, A/B roll refers to using two source
and related documentation. streams (.avi, .wav, .tga, and so on) to create
an effect.
Numerics
1394 See IEEE-1394. advanced 2:3:3:2 pulldown A method
that is often used to convert 23.98 fps
2:3 pulldown A method used to create progressive video to NTSC when the video is
additional video frames when 24 fps film acquired by a camera shooting at 23.98 fps
footage or 23.98 fps progressive video is and recorded to DV tape. Advanced 2:3:3:2
converted to 29.97 fps interlaced video, such pulldown differs from standard 2:3 pulldown
as NTSC. To convert a four-frame sequence in that the two middle frames of a four-frame
of film or progressive video, five frames of sequence are each converted to three video
video are required. The 2:3 pulldown fields. This results in less image degradation
sequence accomplishes this by representing when a reverse pulldown is performed to
the first frame of film or progressive video as convert the video back to 23.98 fps
two fields (1 frame), the second frame as progressive video.
three fields (1.5 frames), the third frame as
two fields (1 frame), and the fourth frame as AGP slot Connection slot to a type of
three fields (1.5 frames). See also advanced expansion bus found in many computers. The
2:3:3:2 pulldown. AGP slot is used to house the AGP display
card.
2D Short for two-dimensional. An image
that has height and width only. alpha key An effect that makes parts of a
foreground image fully or partially
3D Short for three-dimensional. An object transparent based on alpha (transparency)
in three dimensions has height, width, and values stored within the image’s file, so that
depth. Various techniques are used to show an underlying image can show through. See
3D images on 2D surfaces like your computer also chroma key and luma key.
screen.
analog component video See
4:2:2P@ML 4:2:2 Profile@Main Level. component video.
An international standard video compression
profile introduced by MPEG-2. It supports analog signal A video or audio signal that
4:2:2 luminance/chrominance sampling at up varies continuously, as opposed to a digital
to 720 × 608 pixel resolution, and data signal which varies only by fixed steps.
transfer rates up to 50 Mb/sec (5.96 MB/sec). anti-aliasing A technique that smooths
This profile is used for high-quality jagged edges in computer-generated text or
distribution and for archiving. See also graphics.
MP@ML.
aspect ratio A width-to-height ratio. For
A example, a 12-by-9-inch image has an aspect
A/B roll Typically, A/B roll is an editing ratio of 4:3 (four-to-three). Most TV screens
technique where scenes or sounds on two have a 4:3 aspect ratio. HDTV screens have a
source reels (called roll A and roll B) are 16:9 aspect ratio.
played simultaneously to create dissolves,

Appendix D, Matrox Axio Glossary

235

assemble editing Recording new video bus A shared set of hardware lines that lets
and audio material sequentially onto tape. different parts of your computer transfer
Because all the signals are recorded (video, information between one another. A card
audio, and control track), the new material inserted into an expansion slot of your
completely replaces any previously recorded computer makes an electrical connection to
material on the tape. See also insert editing. the bus and effectively becomes part of your
computer system.
AVI Audio Video Interleaved. A video file
format designed for the Microsoft Windows C
environment. See also codec. capture The process of digitizing video or
A/V drive A hard drive capable of storing audio material, usually from a VTR or
high-bandwidth audio/video data. camera, and storing it in a file on a hard disk.
chroma key An effect that makes portions
B
of a foreground image fully or partially
B-frame (Bi-directional frame) A frame
transparent based on the color of that image,
created during the MPEG or MPEG-2 IBP
so that an underlying image can show
compression process. A B-frame is generated
through. See also alpha key and luma key.
by forwards and backwards referencing of the
P-frames and I-frames respectively, which chrominance The color portion of a video
allows it to have the highest compression ratio signal that carries the hue and saturation
of the three frame types. B-frames contain information. See also luminance.
only predictive data (that is, not enough data
codec Compressor/decompressor. A
to make up an entire picture), and therefore
processor that compresses video to reduce its
cannot be edited independently.
file size by eliminating redundancies in
BIOS Basic Input/Output System settings information. It also decompresses files to play
for system components, peripherals, etc. This them back.
information is stored in a special
color bars A standard test signal that
battery-powered memory and is usually
appears as a series of vertical rows of color by
accessible for changes at computer start-up.
which the chrominance and video levels of a
bitmap A graphics image in which a set of camera’s output or a recorded signal can be
values defines each pixel’s relative brightness checked.
and color.
color correction effect A Matrox effect
black level The level of brightness at that allows various color properties of an
which no light is emitted from the screen image to be adjusted. There are controls for
(reference black). The standard black level is adjusting the intensity level for hue,
7.5 IRE for NTSC video, or 0 IRE for saturation, contrast, and brightness. The color
NTSC-EIAJ (Japan) and PAL video. Also correction effect can correct improper color
called setup (NTSC video only). See also levels of an image that are due to varying
white level, super black, and super white. lighting conditions or incorrect camera
settings. See also white balancing.
Blue Book standard See DV.

Appendix D, Matrox Axio Glossary

236

component video A video signal having D10 See IMX.

separate channels for the video information,
Digital8 A camcorder video format
as opposed to a combined (composite) signal.
developed by Sony. Digital8 camcorders use
Y, R-Y, B-Y video is a component video
the DV format to record digital video and
signal.
audio onto 8mm and Hi-8 tapes via any
composite video A video signal device that has an IEEE-1394 interface.
containing luminance and chrominance
Digital-S See D-9.
information that has been combined using a
video standard such as NTSC or PAL. digital signal A signal representing video
Composite video often uses a single RCA or or audio information as binary digits that can
BNC cable connection. See also component be easily regenerated with no noise or
video. distortion. See also analog signal.
contrast The difference in brightness Digital Video See DV.
between the lightest and darkest areas of an
digitize To convert analog information,
image on the screen.
such as a video signal from a VTR or camera,
CPU Central processing unit. The central into digital information that can be processed
processor of a computer that performs and stored by a computer.
calculations and interprets and executes
Direct memory access (DMA) A
commands.
technique used to rapidly transfer data
CPU-based effect An effect that takes between an attached device, such as a disk
advantage of your computer’s CPU to play drive, and the computer’s main memory
back in real time. Matrox Flex CPU effects, without needing to pass the data through the
such as the Matrox color correction effects, CPU.
are CPU-based effects. Compare with
DirectX A Microsoft-developed program
GPU-based effect.
that enables interfaces to support advanced
crawl Sideways movement of text across a hardware features without being written
screen. See also roll (1). specifically for each hardware model.
DirectShow (formerly called ActiveMovie) is
crossfade See dissolve.
part of DirectX.
cut A direct switch from one video and/or
display card A card that has its own
audio source to another.
memory and processor to handle graphics and
D enhance display capabilities. Also called
D-9 Originally known as Digital-S. A graphics card. See also GPU.
variant of the DV format developed by JVC dissolve A transition in which one image
that uses a data rate of 50 Mb/sec (5.96 smoothly fades to another image. It is
MB/sec), which is double the data rate of characterized by the gradual ending of one
most other DV formats. Video is sampled at image occurring simultaneously with the
4:2:2 for both NTSC and PAL sources to give gradual beginning of another. Also called
enhanced chroma resolution. It uses a 1/2” crossfade.
metal particle tape.

Appendix D, Matrox Axio Glossary

237

driver Software that controls a device, such DVCPRO50 A variant of the DV format
as a display card, and enables it to work with developed by Panasonic that uses a data rate
other software. of 50 Mb/sec (5.96 MB/sec), which is double
the data rate of most other DV formats. Video
drop-frame time code For NTSC video,
is sampled at 4:2:2 for both NTSC and PAL
time code is normally produced by a
sources to give enhanced chroma resolution.
generator that counts at 30 frames per second.
It uses the same type of tape as DVCPRO.
NTSC color signals, however, actually have a
display frequency rate close to 29.97 frames DVD Digital Versatile Disc or Digital Video
per second. Drop-frame time code Disc. A type of compact disc that can hold
compensates for this time difference by from 4.7 gigabytes (GB) to 17 GB of
dropping two frames from the count every information. The greatest advantage that
minute except for every tenth minute so that DVD has over CD is that it can store video as
the time code matches clock time. well as audio and computer data. For video
storage, DVD uses MPEG-2 compression, to
DV Digital Video. A standard digital bit
provide better quality than standard VHS.
stream and compression format (known as the
Blue Book standard) used to record video and DVE Digital Video Effect. Generally, an
audio onto a digital tape. DV is intra-frame effect that resizes and repositions a picture on
based, saving each frame separately, and uses the screen.
a fixed 5:1 compression ratio to reduce the
size of video files. DV’s data rate is fixed at E
25 Mb/sec (2.98 MB/sec). Video is sampled Edit Decision List (EDL) A file
at 4:1:1 for NTSC sources or 4:2:0 for PAL containing a list of edit decision statements
sources. See also DVCAM, DVCPRO, used to create a video production.
DVCPRO50, and D-9. edit master The first generation (original)
DVCAM A variant of the DV format of a final edited tape.
developed by Sony that records a 15 micron expansion slot Electrical connection slot
track on a metal evaporated (ME) tape at a mounted on a computer's motherboard (main
data rate of 25 Mb/sec (2.98 MB/sec). Video circuit board). It allows several peripheral
is sampled at 4:1:1 for NTSC sources or 4:2:0 devices to be connected inside a computer.
for PAL sources. See also AGP slot, PCI slot, PCI Express slot,
DVCPRO A variant of the DV format and PCI-X slot.
developed by Panasonic that records an 18
F
micron track on metal particle tape at a data
fade to black A transition commonly used
rate of 25 Mb/sec (2.98 MB/sec). Video is
to signify the end of a scene, in which an
sampled at 4:1:1 for both NTSC and PAL
image or sound smoothly fades to a black
sources. See also DVCPRO HD.
screen or silence (also called a fade-out
DVCPRO HD A high-definition variant of transition). Similarly, you could start a new
the DVCPRO format developed by Panasonic scene with a fade up from black (or fade-in)
that uses a data rate of 100 Mb/sec. Matrox transition.
Axio supports DVCPRO HD for 1080i and
720p sequences.
Appendix D, Matrox Axio Glossary
238

field One-half of the horizontal lines graphics overlay Text or a graphics

needed to make a complete scan of an image that’s superimposed on video. Also
interlaced video frame. In the NTSC system, called super.
two consecutive fields of 262.5 lines each
create a frame of 525 scan lines. In the PAL H
system, two consecutive fields of 312.5 lines hardware-accelerated effect An effect
each create a frame of 625 scan lines. that requires the assistance of dedicated
hardware to play back in real time. Compare
FireWire Apple Computer’s original with CPU-based effect.
implementation of the technology that would
be standardized as IEEE-1394 in 1995. HD Short for HDTV.

Flex CPU effect See CPU-based effect. HDTV High Definition Television. A
digital television format with image
frame A single video image. An interlaced resolutions up to 1080 vertical scan lines.
video frame is comprised of two consecutive HDTV has a 16:9 aspect ratio. Also called
fields (the odd and even fields). HD. See also SDTV.
G HDV A high-definition video format that
garbage matte effect An effect often uses MPEG-2 video compression at a data
used to crop unwanted objects from a rate of about 19 Mb/sec for HDV-1 or
foreground image in a chroma or luminance 25 Mb/sec for HDV-2, and records to standard
key effect. You define the shape of the DV format digital video cassettes.
garbage matte, and only the underlying image
hue The tint or tone of a color. For
is shown outside the matte.
example, the difference between the color
GOP Group of Pictures. The sequence of I, green and red is its hue.
B and/or P-frames produced during MPEG or
MPEG-2 compression. This sequence of I
frames contains all of the information IBP compression See MPEG-2 IBP.
required to reproduce a complete video IEEE-1394 An international standard data
segment. The longer the GOP, the less transfer protocol created by Apple Computer
editable it is. under the FireWire trademark and
GPU Graphics processing unit. A processor standardized by the Institute of Electrical and
that is used primarily for computing 3D Electronics Engineers (IEEE). It enables
functions, such as processing 3D DVEs and simple, low-cost, realtime data transfer
lighting effects. Because the calculations between computers and consumer and
required to process these effects are prosumer electronics products, such as DV
CPU-intensive, the GPU lifts this burden from camcorders and DV decks. Commonly
the CPU to allow it to perform more referred to as 1394.
efficiently. A high-performance display card I-frame compression See MPEG-2
is sometimes referred to as a GPU. I-frame.
graphics card See display card. I-frame (Intra-frame) A frame created
during the MPEG or MPEG-2 compression

Appendix D, Matrox Axio Glossary

239

process that contains all the information interleave A technique used to incorporate
required to reproduce a complete image. It the video and audio portions of a video clip
allows random access points within a video into one file. See also AVI.
stream, and acts as a reference point for
intra-frame compression A video
B-frames and P-frames to be built. I-frames
compression method that removes redundant
are editable because they contain enough data
information from within a frame. Intra-frame
to construct an entire video frame, unlike
compression treats each frame of a video
B-frames or P-frames.
segment independently. Several video
IMX A video recording format developed compression formats use the intra-frame
by Sony, and standardized by SMPTE as D10, method. These include Motion-JPEG, DV,
that is used to record video and audio onto a and MPEG-2 I-frame. Also called spatial
hard disk or tape. The IMX data format is redundancy reduction. Contrast with
fully MPEG-2 compliant and supports video inter-frame compression. See also I-frame
data rates of 30, 40, and 50 Mb/sec. Video is (Intra-frame).
sampled at 4:2:2 for both NTSC and PAL
IRE unit An arbitrary unit designated by
sources.
the Institute of Radio Engineers to define the
insert editing Recording new video amplitude of a video signal. 1 IRE is equal to
and/or audio material onto a prerecorded (or approximately 7 mV.
striped) tape. Insert edits can be made in any
order, unlike assemble edits, which must be J
made sequentially. JPEG (pronounced “jay-peg”) Joint
Photographic Experts Group. A compression
inter-frame compression A video and storage standard used for still, digital
compression method that compares a series of images. See also Motion-JPEG.
frames in a video sequence and removes the
redundant data. Inter-frame compression K
treats all the frames in the sequence as an key effect See alpha key, chroma key, and
interdependent group. As a result, most of the luma key.
frames can’t be edited independently. Also
called temporal redundancy reduction. L
Contrast with intra-frame compression. See LTC Longitudinal Time Code. Time code
also GOP. that is generally encoded as an audio signal
onto a linear audio track of a tape. This type
interlaced scanning A method of of time code can be read only while the tape is
creating a video image by drawing only the moving. See also VITC.
odd numbered lines on the screen in one pass,
then the even numbered lines in the next pass. luma key An effect that makes portions of
Two passes are therefore required to create a a foreground image fully or partially
complete frame of video. NTSC and PAL transparent based on the luminance of that
displays are interlaced. See also progressive image, so that an underlying image can show
scanning. through. See also alpha key and chroma key.
luminance The brightness portion of a
video signal. The luminance of a pixel

Appendix D, Matrox Axio Glossary

240

determines its brightness on a scale from inter-frame (IBP) compression, 4:2:2P@ML,

black to white. See also chrominance. and MP@ML.
luminance key See luma key. MPEG-2 IBP An MPEG-2 compression
type that uses inter-frame compression to
M create a group of I, B, and P-frames. Used for
mark in To select the first frame of a clip. broadcast transmissions and distribution on
mark out To select the last frame of a clip. DVD. See also GOP.

M-JPEG See Motion-JPEG. MPEG-2 I-frame An MPEG-2

compression type that uses only intra-frame
Motion-JPEG A compression and storage compression (that is, only I-frames are
standard used for motion video. The JPEG created). Used for high-quality distribution
compression process is applied to each video and for archiving.
field, in succession. Also called M-JPEG.
MPEG HD An HD video recording format
MP@ML Main Profile@Main Level. An developed by Sony that uses
MPEG-2 video compression profile that industry-standard MPEG-2 IBP compression
supports 4:2:0 luminance/chrominance and supports data rates of 17.5, 25, and
sampling at up to 720×576 pixel resolution, 35 Mb/sec. Sony XDCAM HD devices use
and data transfer rates up to 15 Mb/sec (1.79 MPEG HD compression for video recording.
MB/sec). This profile is used for broadcast
transmission and distribution on DVD. See mV Abbreviation for millivolt
also 4:2:2P@ML. (one-thousandth of a volt). Unit of
measurement sometimes used to define the
MPEG A video compression standard that amplitude of a video signal. See also IRE
specifies a series of compression profiles and unit.
image resolution levels, introduced in 1990 by
the Motion Picture Experts Group. MPEG MXF Material eXchange Format. A file
takes advantage of the redundancy inherent in exchange format standardized by SMPTE that
video data through a combination of assures interoperability among devices and
inter-frame and intra-frame redundancy systems. Panasonic P2 (Professional Plug-in)
reduction. The MPEG standard supports data as well as Sony XDCAM and XDCAM HD
transfer rates of up to 1.5 Mb/sec (0.2 use .mxf files rather than .mov, .avi, or .mpg
MB/sec). Also called MPEG-1. See also files, for example. MXF is designed for
MPEG-2, inter-frame (IBP) compression, and today’s file-based workflows and provides a
intra-frame (I-frame) compression. common way of packaging video and audio
along with metadata so that information about
MPEG-1 See MPEG. the content is maintained as it flows through
MPEG-2 A video compression standard the production process.
that improves upon the MPEG standard by N
supporting data rates of up to 100 Mb/sec (12
nonlinear editing Random access editing
MB/sec), scalable modes, field or frame
that generally uses video and audio clips
searching, and much larger screen sizes. See
stored on disks. Nonlinear editing programs
also intra-frame (I-frame) compression,
let you rearrange and edit clips without

Appendix D, Matrox Axio Glossary

241

having to redo the entire production, and provides connections to the PCI host bus at
provide instant cueing to any frame in a clip speeds up to 66 MHz.
without waiting for tapes to rewind.
PCIe slot See PCI Express slot.
NTSC National Television Systems
PCI Express slot A type of PCI slot that
Committee. The NTSC RS-170A standard
uses a different and much faster
defines a method of broadcasting a color
communications protocol than a 32-bit PCI
signal that can be received by both
slot. PCI Express can accommodate the
monochrome and color TVs. It uses a
higher speeds required for high-performance
composite interlaced display comprised of
peripherals such as display cards and network
525 scan lines per frame, refreshed at a rate of
controllers. PCI Express slots are available in
approximately 30 frames per second.
different sizes (x1, x4, x8, and x16). Also
Broadcast systems in North America and
called PCIe slot.
Japan use the NTSC standard.
PCI-X slot A type of PCI slot that
O increases the speed at which data can move
OP1a An Operational Pattern (OP) for the within the computer from 66 MHz to up to
MXF file format that interleaves the video 133 MHz.
and audio into a single .mxf file. Sony
XDCAM .mxf files use the OP1a Operational P-frame (Predicted frame) A frame
Pattern. See also OP-Atom. created during the MPEG or MPEG-2 IBP
compression process. A P-frame is created by
OP-Atom An Operational Pattern (OP) for using motion vectors to predict the
the MXF file format that separates the video differences between it and the closest
and audio into separate .mxf files, but retains previous I-frame or P-frame. This forward
the common metadata among related files. prediction allows for higher compression than
Panasonic P2 .mxf files use the OP-Atom with I-frames, but not as high as with
Operational Pattern. See also OP1a. B-frames. P-frames, like B-frames, contain
organic wipe A wipe effect that uses a only predictive data and therefore cannot be
grayscale gradient pattern to switch from one edited independently.
image to another by gradually revealing the pixel Picture element. The smallest portion
second image according to the pattern. of an image that can be written to a display.
P Each pixel in an image represents a single dot
on the computer screen. A picture’s resolution
PAL Phase Alternate Line. A video
depends on the number of pixels on the
standard that uses a composite interlaced
screen.
display comprised of 625 scan lines per
frame, refreshed at a rate of 25 frames per Plug and Play A hardware standard for
second. This is the broadcast video standard auto-configuration. It refers to the ability of
for most of Europe. computer hardware to detect and configure
expansion devices such as your Matrox
PCI slot Connection slot to a type of
hardware. Windows supports Plug and Play.
expansion bus found in many computers. It is
smaller in size than older ISA slots and

Appendix D, Matrox Axio Glossary

242

plug-in Software that adds functionality 2. Unwanted vertical roll of a video image,
and/or features to an application. For indicating unstable sync.
example, the Matrox realtime plug-in for
RS-232 A non-differential serial data
Adobe Premiere Pro adds realtime Matrox
transmission standard used for computer
effects and transitions to Adobe Premiere Pro.
connections. See also serial control.
proc amp An electronic device that adjusts
RS-422 A differential serial data
the different aspects of a video signal, such as
transmission standard that is often used for
its hue, saturation, and contrast.
linking video production equipment (VTRs,
progressive scanning A method of mixers, etc.). Because this standard is
creating a video image by drawing all the differential, RS-422 connections are less
lines of a screen sequentially so that the subject to interference and noise than RS-232
complete image is displayed in one pass. connections. See also serial control.
VGA displays and some HDTV formats use
progressive scanning. Progressive scanning S
produces smoother pictures than interlaced saturation A measure of the depth of a
scanning, but uses more bandwidth. color. Fully saturated colors are vivid, while
colors that lack saturation look washed out or
pulldown detection A method of faded.
identifying the extra video frames that are
added when 24 fps film footage or 23.98 fps scroll See roll (1).
progressive video is converted to 29.97 fps SD Short for SDTV.
interlaced video. See also 2:3 pulldown and
advanced 2:3:3:2 pulldown. SDTV Standard Definition Television. A
television format with image resolutions up to
R 525 vertical scan lines for NTSC video and
realtime effect An effect that is played 625 vertical scan lines for PAL video. SDTV
back instantly, without having to be rendered can have a 4:3 or 16:9 aspect ratio. See also
by an editing program. HDTV.
render To compute an image or effect SECAM Séquentiel Couleur Avec Mémoire
using a nonlinear editing, compositing, or (sequential color with memory). A color
animation program. The result is generally television system developed in France and the
saved in a file on the computer. former USSR. It uses a composite interlaced
display comprised of 625 scan lines per
RGB parade A specialized scope that
frame, refreshed at a rate of 25 frames per
displays the red, green, and blue components
second. The color difference signals are
of a video signal.
transmitted sequentially on alternate lines.
RGB video A component video signal that
serial control A method of remotely
uses three signals to carry the separate Red,
controlling a device via a data line. The
Green, and Blue channels of colored images.
control data is transmitted in serial form (that
roll 1. Vertical movement of text across the is, one bit after another), such as for RS-232
screen. Also called scroll. See also crawl. and RS-422 connections.

Appendix D, Matrox Axio Glossary

243

setup See black level. synchronize video equipment and keep

pictures stable on the screen.
SMPTE Society of Motion Picture and
Television Engineers. A professional society T
of motion picture and television engineers TBC See time base corrector.
that prepares standards and documentation for
television production. telecine process A process that transfers
film (negative or positive) to SD or HD video
spatial redundancy reduction See tape. The telecine process shines a light
intra-frame compression. source through each frame, converting the
striping a tape Preparing a tape for optical images to an electronic signal that is
editing by recording continuous control track, then recorded to video tape.
time code, and a video signal (such as black temporal redundancy reduction See
or color bars). inter-frame compression.
super See graphics overlay. time base corrector (TBC) An
super black Video that is darker than the electronic device that, when connected to the
standard black level. See also super white. output of a VTR, corrects the stability and
timing of the VTR’s playback video. This is
super white Video that is brighter than the achieved by stripping the unstable horizontal
standard white level. See also super black. and vertical sync pulses from the video signal,
SVCD Super Video CD. A standard for and replacing them with new, clean sync
storing video and audio on a CD that provides pulses.
better video quality than VCD and standard time code A sequential code number
VHS. Video is compressed using MPEG-2 at assigned to successive video frames on tape.
2500 Kbps, and audio is compressed as Each frame has its own time code, which is
MPEG-1, layer II, at 224 Kbps. An SVCD electronically encoded on the tape in the form
can hold about 30 minutes of material. Super hours:minutes:seconds:frames. See also
Video CDs will play back on some DVD drop-frame time code, LTC, and VITC.
set-top players.
timeline The graphical representation
S-Video A component video signal in (normally a horizontal line) of a video
which the luminance (Y) and chrominance sequence. It is usually divided into
(C) information are separate. S-VHS hours:minutes:seconds:frames, and is used to
videocassette recorders use the S-Video position video, audio, graphics, and video
format. Also called Y/C video. effects that make up the sequence.
sync A circuit or signal that directs the tonal range The range of light and dark
electron gun in a camera or TV picture tube to areas in an image. Tonal range can be divided
hold a picture steady on the screen. It also into three different areas: shadows, midtones,
synchronizes the electronics of other video and highlights. Shadows are the darkest areas
equipment. of an image, highlights are the lightest areas,
sync generator An electrical device that and midtones are the areas with tones
generates sync (timing) signals used to between the lightest and darkest areas.

Appendix D, Matrox Axio Glossary

244

V white level The brightest “legal” level of a

VCD Video CD. A standard for storing video signal (reference white), which is at 100
video and audio on a CD that provides IRE. See also black level, super black, and
slightly better video quality than standard super white.
VHS. Video is compressed using MPEG-1 at wipe A transition in which one image is
1100 Kbps, and audio is compressed as gradually replaced by another image that is
MPEG-1, layer II, at 224 Kbps. A VCD can revealed in a given pattern. For example, the
hold about 60 minutes of material. Video CDs second image could be revealed from the top
can play back on most DVD set-top players. of the screen downwards until it fills the
See also SVCD. entire screen. See also organic wipe.
vectorscope A device that measures the
X
phase and amplitude of the color components
x-y-z coordinate system A 3D
of a video signal.
positioning system that includes a third (z)
VITC Vertical Interval Time Code. Time axis running perpendicular to the horizontal
code that is encoded onto the vertical (x) and vertical (y) axes. The x-y-z coordinate
blanking interval of a video signal. VITC can system is used in computer graphics for
be read by a VTR whenever an image is creating models with height, width, and
displayed, but not usually during high-speed depth, and for moving models in 3D space.
operation. See also LTC.
Y
voice-over Narration added to a video Y waveform A specialized scope that
segment and mixed in louder than the original displays the luminance (Y) values of a video
background sounds. signal.
W Y/C video See S-Video.
WAV An audio data file format developed
YC waveform A specialized scope that
by Microsoft and IBM. This format is the
displays the combined luminance (Y) and
standard for Windows and can be played by
chrominance (C) of a video signal.
most applications that can support sound.
Y, Pb, Pr video See Y, R-Y, B-Y video.
white balancing A color correction
technique that adjusts the color levels of an Y, R-Y, B-Y video An analog component
image using white or gray as a color reference video signal comprised of three channels: Y
point. White balancing assumes that when a (luminance), R-Y (red minus luminance), and
white object can be made to look white, the B-Y (blue minus luminance). Also called Y,
other color levels will also be accurate. White Pb, Pr video.
balancing is used to correct improper color
levels of an image that are due to varying
lighting conditions or incorrect camera
settings. White balancing can be performed
using the Matrox color correction effect, and
is also available as a setting on most cameras.

Appendix D, Matrox Axio Glossary

 E
Matrox Customer Support
This appendix explains how
you can register your Matrox
product and obtain customer
support.
246

How to get Matrox customer support

If you have a problem that you’re unable to solve by referring to the
documentation for your Matrox product, please contact your Matrox
representative. He or she should be able to help you quickly correct any
installation or system configuration problem.
If your representative is unable to solve your problem, contact Matrox for further
information and assistance.

Registration
You can register your Matrox product in the Matrox Support section of our
website at www.matrox.com/video/support.
Only registered users are entitled to customer support, software updates, special
promotional offers, and access to our user forum.

Keep up to date with our website

In addition to registering your Matrox product, our website offers you
up-to-the-minute information about Matrox products and software updates. Be
sure to place our site in your favorites or bookmarks:
www.matrox.com/video/support.

Contacting us
Matrox is proud to offer worldwide customer support. Please use the contact
information for your Matrox product and area as provided on our website at
www.matrox.com/video/support.

Appendix E, Matrox Customer Support

 Index
Numerics Adobe After Effects WYSIWYG plug-in
1080i @ 25 fps sequence about 176
working with 210 required steps 177
See also Matrox WYSIWYG plug-ins
1080i @ 29.97 fps sequence
working with 210 Adobe Encore
capturing material for DVD authoring 77
1080p @ 23.98 fps sequence
exporting sequence for DVD authoring 95
working with 206
Adobe Photoshop WYSIWYG plug-in
1080p @ 24 fps sequence
about 176
working with 212
required steps 177
10-bit Uncompressed codec
See also Matrox WYSIWYG plug-ins
See Matrox 10-bit Uncompressed codec
Adobe Premiere Pro
1440x1080i @ 25 fps sequence
adding voice-over to sequence 96
working with 210
applying Matrox video effects 111
1440x1080i @ 29.97 fps sequence applying Matrox video transitions 111
working with 210 audio output settings for X.linkHD and X.linkSD 71
1440x1080p @ 23.98 fps sequence audio output settings for X.linkLE 67
working with 206 available Matrox effects 110
1440x1080p @ 25 fps sequence capture settings 77
working with 210 creating Matrox chroma key effects 140
1440x1080p @ 29.97 fps sequence overview 139
working with 210 creating Matrox color correction
16-channel mapping primary 114
displaying settings for X.linkLE 70 secondary 129
selecting settings for X.linkHD and X.linkSD 74 creating Matrox luma key effect 147
3ds Max WYSIWYG plug-in overview 146
See Autodesk 3ds Max WYSIWYG plug-in creating Matrox wipe transitions 150
486p @ 23.98 fps sequence creating new Matrox project 52
working with 198 displaying warnings in Events panel 53
5.1 surround mapping DV-1394 output settings 75
displaying settings for X.linkLE 69 enabling/disabling Motion effect 57
selecting settings for X.linkHD and X.linkSD 73 enabling/disabling realtime effects 57
720p sequences exporting sequence to Matrox AVI file 92
working with 208 exporting sequence to tape 101
general settings 54
8-bit Uncompressed codec
genlock settings 65
See Matrox 8-bit Uncompressed codec
loading Matrox sequence presets 52
A sequence settings 54
A/V drives setting up RS-422 device control 99
defragmenting 10, 30 setting up scratch disks 52
formatting as NTFS 10, 30 speed changes 152
A/V Tools video output settings for X.linkHD 61
See Matrox A/V Tools video output settings for X.linkLE 58
video output settings for X.linkSD 63
248

video preview settings 76 Auto balance

Advanced pulldown performing using color correction 124
description of 195 Auto key
See also Standard pulldown performing using the chroma key graph 143
After Effects WYSIWYG plug-in performing using the selective key graph 137
See Adobe After Effects WYSIWYG plug-in Autodesk 3ds Max WYSIWYG plug-in
Allow super black 60, 62, 64 about 176
Allow super white 60, 62, 64 required steps 177
Analog audio volume See also Matrox WYSIWYG plug-ins
adjusting for X.linkHD and X.linkSD 71 Autodesk Combustion WYSIWYG plug-in
adjusting for X.linkLE 67 about 176
Analog output format required steps 178
selecting for X.linkLE 59 See also Matrox WYSIWYG plug-ins
Analog output type Automatic Gain Control
selecting for X.linkLE 59 selecting 80, 165
Analog video horizontal delay AVI files
adjusting for X.linkLE 60 capturing using Adobe Premiere Pro 77
Anamorphic video capturing using Matrox A/V Tools 163, 168
outputting 59, 61, 64 exporting using Adobe Premiere Pro 92
naming in Matrox A/V Tools 168
Aspect ratio
rendering using Matrox VFW codecs 180, 183
creating SD project in 16:9 format 107
selecting conversion setting for output video 59, Axio LE card
61, 64 connecting internal analog audio cable 13
selecting for source video 79, 164 connecting internal power supply cable 12
Audio applications installing 14
setting Axio as default audio playback device 48 specifications 229
Audio capture settings B
in Adobe Premiere Pro 81 Breakout box
in Matrox A/V Tools 166 available connections to X.linkHD 36
in Matrox AV/Tools 166 available connections to X.linkLE 16
monitoring audio levels 84 available connections to X.linkSD 36
selecting channels 82, 167 connecting X.linkHD or X.linkSD to computer 39
Audio connections connecting X.linkLE S-Video adapter cables 21
for X.linkHD 36 connecting X.linkLE to 1394 port on computer 21
for X.linkLE 16 connecting X.linkLE to audio cable bracket 20
for X.linkSD 36 connecting X.linkLE to Axio LE card 19
Audio levels mounting X.linkHD or X.linkSD 36
monitoring for capture 84 mounting X.linkLE on desktop 17
Audio monitoring settings mounting X.linkLE to rack 17
for capture on X.linkHD and X.linkSD 86 typical Matrox Axio HD and SD connections 40
Audio output settings typical Matrox Axio LE connections 23
in Adobe Premiere Pro X.linkHD specifications 226
for X.linkHD and X.linkSD 71 X.linkSD specifications 223
for X.linkLE 67
in Matrox A/V Tools 162

Index
 249

C Matrox Uncompressed SD 95
Capture format Matrox Uncompressed SD + Alpha 95
selecting for audio capture 82, 167 Matrox VFW codecs 183
selecting for video capture 79, 164 Color balance graph
Capturing using Adobe Premiere Pro using 121
monitoring audio levels for 84 Color correction
specifying Matrox settings for 77 adjusting tonal range 120
Capturing using Matrox A/V Tools 168 color matching clips 125
from tape without device control 169 performing an auto balance 124
live video 168 primary 114
specifying audio settings for 166 secondary 129
specifying video settings for 163 using the selective key graph 134
using RGB curves 118
Card installation
using Split View in the Program Monitor 117
Matrox Axio LE card 14
using the color balance graph 121
Matrox X.io card 32
using the luma mapping graph 127
safety precautions 8, 28
using the Split View option 116
Chroma clamper effect
Color matching clips
using 152
using color balance graph 125
Chroma filtering and chroma interpolation
Color pass effect
for rendering to VFW files 183
creating with secondary color correction 138
Chroma key effect
Color space conversion options
creating 140
for rendering to VFW files 182
overview 139
using the chroma key graph 143 Combustion WYSIWYG plug-in
See Autodesk Combustion WYSIWYG plug-in
Chroma key graph
using 143 Component gain
adjusting for X.linkHD 62
Chroma key shadow effect
adjusting for X.linkSD 63
creating 140
overview 139 Component output format
selecting for X.linkHD 62
Clip information
updating in Matrox A/V Tools 169 Composite gain
adjusting for X.linkSD 63
Codec
Matrox 10-bit Uncompressed 80, 164 Compression formats
Matrox 8-bit Uncompressed 79, 164 supported 215
Matrox DV/DVCAM 79, 94, 164 Compressor
Matrox DVCPRO 79, 94, 164 selecting for VFW render 183
Matrox DVCPRO HD 79, 94, 164 Computer
Matrox DVCPRO50 79, 94, 164 system requirements for Axio HD and SD 3
Matrox MPEG-2 IBP 90 system requirements for Axio LE 2
Matrox MPEG-2 I-frame 80, 88, 94, 164 Connections
Matrox MPEG-2 I-frame + Alpha 94 typical Matrox Axio HD and SD 40
Matrox MPEG-2 I-frame HD 80, 88, 94, 165 typical Matrox Axio LE 23
Matrox MPEG-2 I-frame HD + Alpha 94
Matrox Uncompressed HD 95
Matrox Uncompressed HD + Alpha 95

Index
250

Customer support 246 Events panel

displaying warnings in 53
D Exporting to disk
Device control Matrox AVI files 92
exporting to tape using DV-1394 in Premiere Pro MPEG-2 for DVD authoring 95
105 See also Rendering using VFW programs
exporting to tape using RS-422 in Premiere Pro 101
Exporting to tape 101
obtaining frame-accurate RS-422 export to tape 104
enabling DV-1394 output for DVCPRO HD 75
setting up RS-422 in Premiere Pro 99
using DV-1394 device control in Premiere Pro 105
Disk defragmentation 10, 30 using RS-422 device control in Premiere Pro 101
Drivers eyeon Fusion WYSIWYG plug-in
installing for Axio hardware 46 about 176
updating for DV-1394 devices 48 required steps 178
Drop frame time code See also Matrox WYSIWYG plug-ins
displaying in Matrox A/V Tools 159
Dropped frames in video playback F
reporting 56 Fan
DV/DVCAM codec installing 9, 29
See Matrox DV/DVCAM codec Ferrite beads
DV-1394 device attaching to X.link cable 38
as source in Adobe Premiere Pro 78 Fusion WYSIWYG plug-in
settings in Adobe Premiere Pro 75 See eyeon Fusion WYSIWYG plug-in
updating drivers for 48
DV-1394 device control G
exporting to tape with 105 General settings
DV-1394 output settings 75 in Adobe Premiere Pro 54
in Matrox A/V Tools 160
DVCPRO codec
See Matrox DVCPRO codec Genlock settings
in Adobe Premiere Pro 65
DVCPRO HD codec
in Matrox A/V Tools 162
See Matrox DVCPRO HD codec
Genlock source
DVCPRO HD material
reporting lost signal during video playback 56
capturing native 79
selecting 65
exporting to DV-1394 device 105
Genlock video format
DVCPRO50 codec
selecting 66
See Matrox DVCPRO50 codec
GFX files
DVL files
installing for Matrox wipes 47
saving and loading 170
uninstalling 49
E Glossary 234
Editing video format
selecting in Matrox A/V Tools 159
H
Hardware information
Effect presets 111
displaying with X.info 190
Error notification
HD sequence presets
in Events panel 53
working with 200
with X.info 191

Index
 251

HD sequences License agreement i

compression formats on Axio HD 216 VFW software codecs v
compression formats on Axio LE 215 LightWave 3D WYSIWYG plug-in
compression formats on Axio SD 217 See NewTek LightWave 3D WYSIWYG plug-in
editing on Matrox Axio SD 213 Luma key effect
Heat buildup problems 8, 28 creating 147
Hibernation mode overview 146
using with Matrox Axio 48 using the luma key graph 148
Horizontal delay Luma key graph
adjusting 66 using 148
Luma mapping graph
I using 127
Input aspect ratio Luminance range settings
selecting 79, 164 for rendering to VFW files 182
Input channels
monitoring during capture on X.linkHD and M
X.linkSD 86 M2V files
Input device capturing using Adobe Premiere Pro 77, 85
selecting 78 Main SDI output format
Input format selecting for X.linkLE 58
selecting 79, 164 supported on Matrox Axio LE 218
Input source Mask
selecting for audio capture 82, 166 applying to Matrox effects 112
selecting for video capture 78, 163 applying using Select Mask 113
Installation Master output format
Matrox Axio LE card 14 selecting for X.linkHD 61
Matrox Axio software 46 selecting for X.linkSD 63
Matrox X.io card 32 supported on Matrox Axio HD 219
Internal analog audio cable supported on Matrox Axio SD 219
connecting to Axio LE card 13 Matrox
Internal power supply cable contacting us 246
connecting to Axio LE card 12 WWW site 246
connecting to X.io card 32 Matrox 10-bit Uncompressed codec
Internet site, Matrox 246 selecting for capture 80, 164
Isolating colors in a clip using for HD video 205
using secondary color correction 138 workflow example 205
Matrox 8-bit Uncompressed codec
K selecting for capture 79, 164
Key colors using for HD video 205
modifying using the chroma key graph 143 workflow example 205
Keyboard shortcuts Matrox A/V Tools
for Matrox A/V Tools 174 about 154
audio capture settings 166
L audio output settings 162
Letterbox video CAM button 155
outputting 59, 61, 64

Index
252

capture settings 163 Matrox Axio SD

capturing clips 168 connecting external devices 40
capturing from tape without device control 169 editing HD sequences on 213
capturing live video 168 hardware supplied with 2
changing In/Out icons 169 supported compression formats 217
clip ID and clip names 168 supported master output formats 219
clip list 170 system requirements 3
adding clips 170 Matrox Axio software
copying clips 171 installing 46
deleting clips 171 removing 49
detaching and resizing 172 Matrox Axio workflows 198
moving clips 171 Matrox DV/DVCAM codec
playing back clips 170 selecting for capture 79, 164
saving and loading 170 selecting for export in Premiere Pro 94
defining options 158 selecting for VFW render 183
Disk button 155 Matrox DVCPRO codec
editing clips 169 selecting for capture 79, 164
general settings 160 selecting for export in Premiere Pro 94
genlock settings 162 selecting for VFW render 183
grabbing a single-frame image 172
Matrox DVCPRO HD codec
keyboard shortcuts 174
configuring for VFW render 184
pop-up menu 156
description of 200
time code
selecting for capture 79, 164
displaying 158
selecting for export in Premiere Pro 94
transport controls 156
selecting for VFW render 183
video capture settings 163
Matrox DVCPRO50 codec
video output settings 162
selecting for capture 79, 164
Matrox Axio
selecting for export in Premiere Pro 94
glossary 234
selecting for VFW render 183
monitoring using X.info 188
Matrox effect patterns
specifications 221
installing 47
Matrox Axio HD
removing 49
connecting external devices 40
Matrox MPEG-2 IBP codec
hardware supplied with 2
configuring in Adobe Premiere Pro 90
supported compression formats 216
supported master output formats 219 Matrox MPEG-2 I-frame + Alpha codec
system requirements 3 configuring for VFW render 185
selecting for export in Premiere Pro 94
Matrox Axio LE
selecting for VFW render 183
connecting external devices 23
hardware supplied with 2 Matrox MPEG-2 I-frame codec
supported compression formats 215 configuring for VFW render 185
supported SDI output formats 218 configuring in Adobe Premiere Pro 88
system requirements 2 selecting for capture 80, 164
selecting for export in Premiere Pro 94
Matrox Axio LE card
selecting for VFW render 183
before you install 8
installing 14

Index
 253

Matrox MPEG-2 I-frame HD + Alpha codec Matrox VFW software codecs

configuring for VFW render 185 installing 47
selecting for export in Premiere Pro 94 removing 49
selecting for VFW render 183 Matrox video effects
Matrox MPEG-2 I-frame HD codec filtering in Effects panel 110
configuring for VFW render 185 how to apply 111
configuring in Adobe Premiere Pro 88 Matrox video transitions
description of 200 filtering in Effects panel 110
selecting for capture 80, 165 how to apply 111
selecting for export in Premiere Pro 94 Matrox WYSIWYG Control Panel
selecting for VFW render 183 using 176
using for offine editing 202 Matrox WYSIWYG plug-ins
using for online editing 201 about 176
workflow example for offline editing on Axio 203 installing 47
workflow example for offline editing on remote sys- re-installing 47
tem 204 removing 47
workflow example for online editing 201 required steps 177
Matrox Mtx.utils Matrox X.info
installing 46 using 188
removing 49
Matrox X.io card
Matrox Player before you install 28
using as the default 53 installing 32
Matrox project Monitoring your system
creating a new 52 with X.info 188
realtime playback capabilites in Premiere Pro 53
Mono/stereo mapping
Matrox RT technology displaying settings for X.linkLE 68
enabling/disabling 56 selecting settings for X.linkHD and X.linkSD 72
Matrox Uncompressed HD + Alpha codec Motion effect
configuring for VFW render 184 enabling/disabling realtime 57
selecting for export in Premiere Pro 95
MPEG-2 IBP codec
selecting for VFW render 184
See Matrox MPEG-2 IBP codec
Matrox Uncompressed HD codec
MPEG-2 I-frame codec
configuring for VFW render 184
See Matrox MPEG-2 I-frame codec
description of 200
MPEG-2 I-frame HD codec
selecting for export in Premiere Pro 95
See Matrox MPEG-2 I-frame HD codec
selecting for VFW render 184
using 205 MPEG-2 I-frame HD settings
workflow example 205 selecting in Adobe Premiere Pro 88
Matrox Uncompressed SD + Alpha codec MPEG-2 I-frame settings
configuring for VFW render 184 selecting in Adobe Premiere Pro 88
selecting for export in Premiere Pro 95 Mulit-camera sequence
selecting for VFW render 184 displaying camera previews on video monitor 53
Matrox Uncompressed SD codec N
configuring for VFW render 184
NewTek LightWave 3D WYSIWYG plug-in
selecting for export in Premiere Pro 95
about 176
selecting for VFW render 184

Index
254

required steps 178 Reporting dropped frames

See also Matrox WYSIWYG plug-ins during video playback 56
Non-drop frame time code Reporting lost genlock
displaying in Matrox A/V Tools 159 during video playback 56
NTFS Returning procedure iv
formatting drives as 10, 30 RGB curves
NTSC setup level using 118
selecting for analog video 59, 62, 64 RS-422 device control
obtaining frame-accurate export to tape 104
P setting up 99
Panasonic VariCam
capturing material from 80, 208 S
PCI retainer bracket SC/H Phase
removing 11, 31 adjusting for X.linkLE 60
using 11, 31 adjusting for X.linkSD 64
Photoshop WYSIWYG plug-in Scratch disks
See Adobe Photoshop WYSIWYG plug-in specifying 52
Player settings Scrubbing audio
defining 53 specifying preroll/postroll frames 56, 161
Power supply Scrubbing mode
connecting internal cable to Axio LE card 12 selecting 55, 160
connecting internal cable to X.io card 32 SD sequences
Preconfigured Matrox video effects compression formats on Axio HD 216
applying 111 compression formats on Axio LE 215
Proc amps compression formats on Axio SD 217
adjusting using Matrox color correction 130 SDI audio output format
Pulldown selecting for X.linkHD and X.linkSD 71
description of advanced 195 SDI horizontal delay
description of standard 194 adjusting for X.linkHD 62
used in 486p @ 23.98 fps sequence 198 adjusting for X.linkLE 60
used in HD sequences 206 adjusting for X.linkSD 64
Pulldown method Secondary color correction
selecting for output on X.linkHD 62 creating a color pass effect 138
selecting for output on X.linkLE 59 Secondary SDI output format
selecting for output on X.linkSD 64 for X.linkLE 58
supported on Matrox Axio LE 218
R Select Mask
Reference termination using 113
selecting for analog sync signal 66
Selective key graph
Registering your Matrox product 246 using 134
Rendering using Matrox VFW codecs Sequence presets
before you start 181 for HD material 200
selecting color space conversion options 182 for SD "24P" material 198
selecting compressor 183 loading for Matrox Axio 52
See also Matrox Axio workflows

Index
 255

Sequence settings V
in Adobe Premiere Pro 54 VariCam capture 80, 208
Service, returns iv Ventilation 8, 28
Setup level Vertical delay
selecting for NTSC analog video 59, 62, 64 adjusting 66
Sleep mode Video capture settings
using with Matrox Axio 48 in Adobe Premiere Pro 77
Software installation in Matrox A/V Tools 163
Matrox effect patterns 47 Video connections
Matrox Mtx.utils 46 for X.linkHD 36
Matrox VFW software codecs 47 for X.linkLE 16
Matrox WYSIWYG plug-ins 47 for X.linkSD 36
overview 46
Video for Windows programs 180
Specifications rendering Matrox AVI file 183
for Matrox Axio 221
Video for Windows software codecs
Speed changes installing 47
selecting speed control method 152 removing 49
Split View Video formats
using 116 expressed in Axio documentation 4
working with in the Program Monitor 117
Video luma level 55, 161
Standard pulldown
Video output settings
description of 194
in Adobe Premiere Pro
See also Advanced pulldown
for X.linkHD 61
Style conventions 4 for X.linkLE 58, 60
Super black for X.linkSD 63
allowing for output video 60, 62, 64 in Matrox A/V Tools 162
Super white Video preview settings
allowing for output video 60, 62, 64 in Adobe Premiere Pro 76
S-Video gain Video processing format 55, 161
adjusting for X.linkSD 63 Voice-over
System information adding to sequence 96
displaying with X.info 188 connection and setup 96
System requirements recording 97
for Matrox Axio HD and SD 3 VU meters 84
for Matrox Axio LE 2
W
T Warnings
Technical support 246 displayed for hardware issues by X.info 191
Temperatures displaying in Adobe Premiere Pro’s Events panel 53
monitoring 191 re-enabling using X.info 189
TGA files Warranty i
creating using Matrox A/V Tools 172 WAV files
Time code capturing using Adobe Premiere Pro 81
displaying in Matrox A/V Tools 158, 159 capturing using Matrox A/V Tools 166

Index
256

Widescreen format connecting to computer 39

editing SD material on Matrox Axio 107 description 36
Wipe transitions digital video connections 43
creating 150 mounting 36
Workflows specifications 223
for Matrox Axio 198 S-Video connections 42
WWW site, Matrox 246 See also Breakout box
WYSIWYG Control Panel XLR output impedance
See Matrox WYSIWYG Control Panel selecting for X.linkHD and X.linkSD 71
WYSIWYG plug-ins selecting for X.linkLE 67
See Matrox WYSIWYG plug-ins XMP files
created for M2V clips 85
X
X.info
error notification 191
hardware information 190
monitoring temperatures 191
system information 188
using 188
X.io card
connecting internal power supply cable 32
installing 33
specifications 222
X.link cable
attaching ferrite beads 38
X.linkHD breakout box
connecting to computer 39
description 36
digital video connections 40
mounting 36
specifications 226
See also Breakout box
X.linkLE breakout box
analog component connections 23
connecting 1394 cable to computer 21
connecting to audio cable bracket 20
connecting to Axio LE card 19
description 16
digital video connections 25
mounting on desktop 17
mounting to rack 17
S-Video connections 24
using S-Video adapter cables 21
See also Breakout box
X.linkSD breakout box
analog component connections 41

Index
 Compliance Statements
USA
FCC Compliance Statement
Remark for the Matrox hardware products supported by this guide
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate
radio frequency energy and, if not installed and used in accordance with the instructions manual, may cause harmful interference to radio communications. Operation of
this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.
WARNING
Changes or modifications to this unit not expressly approved by the party responsible for the compliance could void the user’s authority to operate this equipment. The
use of shielded cables for connection of equipment and other peripherals to the card is required to meet FCC requirements.

Canada
(English) Industry Canada Compliance Statement
Remark for the Matrox hardware products supported by this guide
These digital devices do not exceed the Class A limits for radio noise emission from digital devices set out in the Radio Interference Regulation of Industry Canada.
(Français) Conformité avec les exigences du ministère de l’Industrie Canada
Remarque sur les produits matériels Matrox couverts par ce guide
Ces appareils numériques n’émettent aucun bruit radioélectrique dépassant les limites applicables aux appareils numériques de Classe A prescrites dans le Règlement sur
le brouillage radioélectrique édicté par Industrie Canada.

Europe
(English) European user’s information – Declaration of Conformity
Remark for the Matrox hardware products supported by this guide
These devices comply with EC Directive 2006/95/EC for a Class A digital device. They have been tested and found to comply with EN55022/CISPR22 and
EN55024/CISPR24. In a domestic environment these products may cause radio interference in which case the user may be required to take adequate measures.To meet
EC requirements, shielded cables must be used to connect equipment and other peripherals to the card. These products have been tested in a typical class A compliant
host system. It is assumed that these products will also achieve compliance in any class A compliant system.
(Français) Informations aux utilisateurs Européens – Déclaration de conformité
Remarque sur les produits matériels Matrox couverts par ce guide
Ces unités sont conformes à la directive communautaire 2006/95/EC pour les unités numériques de classe A. Les tests effectués ont prouvé qu’elles sont conformes aux
normes EN55022/CISPR22 et EN55024/CISPR24. Le fonctionnement de ces produits dans un environnement résidentiel peut causer des interférences radio, dans ce cas
l’utilisateur peut être amené à prendre les mesures appropriées. Pour respecter les impératifs communautaires, les câbles de connexion entre l’équipement ou autres
périphériques et la carte doivent être blindés. Ces produits ont été testés dans un système hôte typique compatible classe A. On suppose qu’ils présenteront la même
compatibilité dans tout système compatible classe A.
(Deutsch) Information für europäische Anwender – Konformitätserklärung
Anmerkung für die Matrox Hardware-Produktunterstützung durch dieses Handbuch
Diese Geräte entsprechen EC Direktive 2006/95/EC für ein digitales Gerät Klasse A. Sie wurden getestet und entsprechen demnach EN55022/CISPR22 und
EN55024/CISPR24. In einer Wohnumgebung können diese Produkte Funkinterferenzen erzeugen, und der Benutzer kann genötigt sein, entsprechende Maßnahmen zu
ergreifen. Um EG-Anforderungen zu entsprechen, müssen zum Anschließen des ausrüstung und anderer Peripheriegeräte an die Karte abgeschirmte Kabel verwendet
werden. Diese Produkt wurden in einem typischen, der Klasse A entsprechenden, Host-System getestet. Es wird davon ausgegangen, daß diese Produkte auch in jedem
Klasse A entsprechenden System entsprechend funktionieren.
(Italiano) Informazioni per gli utenti europei – Dichiarazione di conformità
Nota per i prodotti hardware Matrox supportati da questa guida
Questi dispositivi sono conformi alla direttiva CEE 2006/95/EC relativamente ai dispositivi digitali di Classe A. Sono stati provati e sono risultati conformi alle norme
EN55022/CISPR22 e EN55024/CISPR24. In un ambiente domestico, questi prodotti possono causare radiointerferenze, nel qual caso all’utente potrebbe venire richiesto
di prendere le misure adeguate. Per soddisfare i requisiti CEE, l’apparecchiatura e le altre periferiche vanno collegati alla scheda grafica con cavi schermati. Questi
prodotti sono stati provati in un tipico sistema host conforme alla classe A. Inoltre, si dà per scontato che questi prodotti acquisiranno la conformità in qualsiasi sistema
conforme alla classe A.
(Español) Información para usuarios europeos – Declaración de conformidad
Observación referente a los productos de hardware de Matrox apoyados por este manual
Estos dispositivos cumplen con la directiva de la CE 2006/95/EC para dispositivos digitales de Clase A. Dichos dispositivos han sido sometidos a prueba y se ha
comprobado que cumplen con las normas EN55022/CISPR22 y EN55024/CISPR24. En entornos residenciales, estos productos pueden causar interferencias en las
comunicaciones por radio; en tal caso el usuario deberá adoptar las medidas adecuadas. Para satisfacer las disposiciones de la CE, deberán utilizarse cables apantallados
para conectar el equipo y demás periféricos a la tarjeta. Estos productos han sido sometidos a prueba en un típico sistema anfitrión que responde a los requisitos de la
clase A. Se supone que estos productos cumplirán también con las normas en cualquier sistema que responda a los requisitos de la clase A.
www.matrox.com/video