Here’s the full video from our Behind the Scenes with Resolume at High School Camp – Part 1. Transcript below the video!
Resolume – Signal Flow/Setup
Hey guys, Luke McElroy (Founder, TripleWide Media), we’re here at high school camp in Sevierville Tennessee. We got a pretty impressive setup here – a total of 9 LED screens if I’m not mistaken.
It’s all map together except for the two side imags (IMAG Screens.) So I want to talk through a little bit of my workflow; how we’ve sort of set everything up. Basically using a Mac trash can to the Dual d700 graphics processor which we found the key for a lot of those fancy graphics playback.
We’re basically coming out of that there’s a lot of wires here so I can sort of simplify this. Coming out of here in two main outputs: one output is going to do a DataPath, which is right there on the end. The black box. It’s DVI in. It’s splitting that so it’s a 3840 by 1080 which is two 1920*1080’s.
We’re splitting that, that is then going into the two decimators on top and they’re running into this fiber run which is going back to video world. We’re then running a third output which is this red HDMI and it’s just a normal 1080. That’s so that we can get iMag. So basically if you look at this setup right here, the full set up the (LED wall in the center and all seven of those surfaces) is being processed by two 1920 by 1080 systems.
I’ll show you once we get on the other side how we’re cutting up those graphics. The side (outside IMAG Screen) is being processed by a separate 1920 by 1080. The reason we did that is for this; if we ever wanted to create any sort of high-end effect that we were doing on the center and match that on the sides or we want to play a video that was playing on the center and the sides and we wanted them be in sync and timing, they need to come from the same source. Otherwise you’re going to see frame delays; you’re going to see different sort of technical issues that don’t allow them to be playback smoothly.
So … that’s the basics. That’s sort of how we’re running this; all the content’s being processed through Resolume. Most of the content is coming from TripleWideMedia.com and DXVLoops.com. We’re actually taking four additional sources, sorry, three additional sources into the server (into the Mac) in order to have a lot more flexibility.
So let me kind of walk through this. Right here, you’ll see two Blackmagic mini recorders. I think I can tip this, they’re kind of taped together…But all they really are are SDI ins to Thunderbolt outs. The Thunderbolt then go into the Mac Pro and this basically allows me to have to routable sources from the video switcher coming in as an input into the computer. Now what can I do with that?
Here’s exactly what I can do with that. I can create presets now utilizing cameras that are coming from the fly pack and I can put them on that main LED wall. So I can make them black and white, I can put a mirror effect, I can have them pulse RGB shifts or any sort of thing. The flexibility is pretty endless.
Then the third input, I’m using an Ultra Studio 4K. Now you may be asking why are using too mini recorders one Ultra Studio 4K… It’s cuz that’s what we had so there was no method to the madness you could have used 3 UltraStudio 4K’s if you have $3,000 laying around or you could use 3 mini recorders all you got to do is have some way to get SDI into Thunderbolt to get into the Mac.
So the UltraStudio 4K, which is the second box right here, it’s got SDI coming in as well but what were using that source for is our lighting guy over here. (He) has a video server built into his console. So when he’s programming he’s actually creating video looks that he thinks would look coordinated and good for the room compared to lighting so they’re very in sync and synergy. So I’m actually taking him as an input. So if at any point, I actually just want to go to what he’s already programmed, and there’s many songs we do that, I just put his program on.
So that some of the wiring on the back end. We’re also, just a couple of little tools were using, we’re actually doing audio out via HDMI embeds so that hits the record decks first and then that’s being split. A little thing we’re doing is this Focus right here is another audio interface. We’re actually taking SMPTE time code in so they JR, who is our band leader and he’s on stage, he is actually sending me out of Ableton a SMPTE timecode feed and I’m getting just that. So that allows us to do synced with band lyrics and opener videos and hits and cuts, so videos that are 100 percent in sync and so if he all sudden jumps to a different part in the song, SMPTE time codes going to follow that. I’m now going to take you on the other side and I’ll show you the front interface.