XPression Graphics Sports Workflows

XPression Graphics Sports Workflows

Hello NAB 2016. My name is Ryan Corcoran and behind the monitors
is my colleague Garner Millward in the monitor. Today we are going to be talking about XPression
in sports – what you can do with it, the feature set, talking about things like fast
recall speed, package reskinning, data connectivity, custom dashboard panels, transition logic,
all the things you need to know how XPression fits into your sports workflow. So let’s kick things off with talk about
recall speed. So, XPression is fast. What we are going to show you here is the
sequencer, so this is what you would be operating with, and you are going to see each on of
these take items actually references a graphic. So as Garner goes up and down the sequencer
you are going to see the preview window here changing to represent the graphic that is
indicative of this take item line, which is what we refer to these as, our take items. And each take item has its own unique ID via
number, so we’ll talk about that in a second, but what we are going to show you is the ease
of recall here. Garner is pressing the take button on the
XPression keyboard and it is performing a take on each one of these take items and then
it is appearing on our output, so it is very easy quick and easy to recall your graphics. Now, just because the sequencer is presented
to you in a linear list format doesn’t mean that you have to go up and down in a linear
fashion, with fast recall, we can enable that and then using the unique take ID number that
I mentioned earlier, we can type that into the number pad on the keyboard to jump around
the sequencer to that number, and then when Garner hits take, it will go to that specific
graphic. Again, and we can even watch his keystrokes
as he is typing them in. Very fast and efficient way to recall your
graphics during your sportscast. Now we are going to talk about the native
clip functionality built into XPression, how you can get it as a server option, and how
you can get it as a standalone clip server. So what we are looking at now is the Xpression
clip interface, which is actually still built in the sequencer. So Garner can actually switch the layout here
back to the sequencer, same place we were just at, and then we can go back to the clips
playout – it is all in the same interface. So down at the bottom we have the clip browser,
where you can see Garner is pulling clips up from the clip browser and dropping them
directly into the clip server channels. We have four of them set up right now, and
you can see those over here on my output. So these are the outputs of clip one, two,
three, and four. Now one thing to make a point of is that each
one of these outputs are only taking up one layer on each physical output of the XPression,
so this XPRession is putting out four fill channels, and each server channel takes up
only one layer of the limitless amount of layers you can have on the output. So you can actually run this in conjunction
with your lower thirds or your other keyable elements over top with your other layers. It would be like an internal keying system. Well how do we populate the clip browser? Well we have another piece of software called
the incoder, and what that does, is you would set up a watch folder where you would take
your clips and put them into the watch folder, then the incoder takes the clips out of the
watch folder, sucks them up, and flips them into XPression’s native codec. It is actually a very efficient codec. So at that point, it then puts them in the
clip browser, which is a database that can be synched to other databases and other XPressions
engines, so every engine can actually pull from this database. Now aside from that, we can also record directly
into the browser. So we’ll open up record client and we can
record multiple inputs at the same time, we just need to open up multiple record clients. So Garner is going to open up record on himself,
and we are going to dump it into the D drive. So you see that we are recording now, we have
our time code, we have a buffer level of forty-five frames, and he can even split the record while
it is being crash recorded, so now it instantly went to another clip and is recording on that
one. So now when Garner hits stop record, we have
our new clips that we just brought into our inputs. So, we can right click and do send to clip
store so its going to put it into that database the same way that the encoder would. So we are going to type in a name and we’re
going to give it a recall ID which we will talk about in a second. We are going to hit transfer clip and once
it is done, we can search it in the clip browser and it will be right there. Let’s say that we have a little bit on the
front end of that or the back end that we did not want. Oh yes, and the flip book animation. So we can preview the video just by hovering
the thumbnail, but what we are going to do is we are going to create a subclip of this,
so it is going to open this up in the add subclip window, where we can play back the
video, and then we can even set an in and an out. So we are going to trim the front of this
to a certain point, add an end, come over to the bac side and add an out. We can rename the subclip and give this an
additional recall ID. So now, we can search for that sub clip, and
then we can add this to the channel and play it back, and even loop it. So, you see your current – your remaining
timecode and as well as your live preview in the clip server channel in the interface. So with Transition Logic, we can actually
give our graphics more intelligence – we can make them smart graphics by dictating
rules and conditions that the graphic is supposed to follow. So for an example, we have a very specific
scene here, this lower third generic. This scene represents the template from which
that graphic was created from, and then we have the additional information that we have
put on it. So what we are going to do is we’re gonna
take this graphic online, and then animate in a specific way. So go ahead and animate this out again, and
then animate it in. So take note that it has a specific animate
in effect and animate out. What we are going to do now, is that we are
going to go to the same type of graphic derived from the same original template. It has different information in it, so it
is going to know when we take that other graphic online that it is not supposed to animate
in again, it is actually going to do a different animation: it is going to dissolve. So through Transition Logic, we have dictated
to this graphic when this scene is already online don’t reanimate in, do a dissolve. Now another example of that would be this
lower third here, this is coming from a different scene type: home bio. So this one, with Transition Logic, we have
dictated that because you are a different type of lower third, you are not going to
do a dissolve but you should also not occupy the same layer at the same time. So when we go to take that next graphic online,
this one is going to animate out first, this one is going to wait for this one to animate
out completely, and then animate it – and vice versa. Now these are both occupying the same layer
at the same time. Our Transition Logic actually renders the
same or different scene on the same layer in order for that to happen, so you see, two
graphics using Transition Logic are occupying the same layer on one output. Haven’t even touched output two yet of this
box. And we have another example of this with the
away slab. Same principle, they know that they are not
supposed to occupy the layer at the same time, so when Garner takes that graphic, its going
to animate out and this one is going to wait for it before animating in. That is Transition Logic. So with Data Connectivity, with XPression’s
data link server option, we can actually connect to an array of different sources, like HTML
text files, EXCEL sheets, XML, ADODB databases, anything that Windows can throw at us. And with our CII gateway we can do send and
improved external updates commands. So an example of something that we would want
to connect our graphics to would be a scoreboard. We want to be able to bring in our scorebug
information from the scoreboard so that we do not have to continuously watch it and update
based on that. We want it to just do automatically. So somewhere off in imaginary land we have
a scoreboard and it is going to populate our scorebug. So we go and we connect our scoreboard and
our clock is going to start receiving data from it as well. So another way that we could connect to something
external would be like an EXCEL sheet. Like any good scorecasters, we have our own
EXCEL sheet and all of those statistics: height, weight, class, hometown, full name, even the
file path of their head shot. So, how is this useful to us? Well, with datalink, we can connect to these
independent fields and then we can do things where we create datalink keys which will dynamically
change an entire graphic to pull different lines of the database. So each row has its own number. Each player we would associate to the number
of their jersey. So we have a direct correlation between their
information and a number that we can recognize. So for instance, when we go back to XPression,
we would have a graphic like this that would have player information. So we have some datalink keys set up, so when
Garner changes the stat page number, he is changing the webpage of the database its pulling
these four stat categories from, all at once, based on the row that is said via the jersey
number. So the jersey number, as he steps through,
is going to change everything on the graphic dynamically as it goes one at a time through
the database of row and all of the information will change. So for instance, the art director calls for
player jersey number four, types it in, his information is there, Garner takes it, and
its there. Again Xpression is fast and efficient. Package-Reskinning. During your sportscast, it is important to
be able to switch your graphics package quickly and efficiently for a situation where maybe
you have multiple match-ups during the entire day. First game of the day you have team A and
team B, right after that, maybe only five minutes, you have team C versus team D. And
each team obviously has their own colours and logos, so we want to be able to quickly
switch our entire package to match whatever team matchup we are doing for that game. So here on this team matchup slate, we have
team A’s logo and colours, and we have team B’s colour and logos. So we have some other graphics that are using
these as well. So for instance, our home player has the home
logo and colours, the away logo and colours, logos and colours and the highlights and everything. So what essentially we are going to do, we
are going to make a modification in our spreadsheet that changes dynamically the file paths of
all of these locations and materials in our project, and we can do this in two easy steps,
in less than thirty seconds. So on our game sheet, on our set-up tab, we
are going to change the away team to something else, New York, and then the home team to
something else, and then we are going to save this. That’s step one. Step two is we are going to go back to XPression
and we are going to run our game set-up graphic that actually runs a piece of script that
will change all of those file paths for us based on those two names because of the way
our folder hierarchy is. And now, the same graphics that we just showed
you have been completely reskinned with logos and colour schemes. So you see we have our logos, colour, as now
our home team, and our away team now has different logos and colours as well. Dashboard Panels is another really intricate
part of this whole array, for those of you who do not know, Dashboard is actually an
included software or not included; you can actually go to the website right now and download
this, whenever you want. But what it is, is it’s a control interface
for your productions. You can use it to control an array of devices
including but not limited to the XPression through various protocols and even native
Ross talk, as well as pull information from it because it will actually generate and XMO
file that we can pull through Datalink. So here is our custom panel, that has both
control of the XPresssion, and data connectivity to the XPression. So when Garner presses our bug on, it is triggering
through Ross talk the XPression to say “bring this scene online”. If he clicks it again, it will take it off. So that is the control portion of this, now
we also have these two fields, visitor and home, tied directly to these two fields via
Datalink. And then in Dashboard we made little macro
buttons that do functions for instance increasing this score by certain increments. Or he could come up here and just change it
to whatever he wanted so he can change that to twenty and it is going to instantly change
then when he creates another button. And then we can do other things controlling
the scenes like our visitor timeout, clicking those will associate in the scene saying “these
certain things need to be active”. Our clock is coming from this clock field,
that we have built in controls for that. So we can stop the clock, adjust the clock,
reset the clock, which will reset the shot clock as well, and then we will start it again
and now it’s counting down as we have dictated. So anyone can do this, and we even offer services
if you want we can design the panels for you. So telestration, at some point in may be desired
for your sportscaster to draw on an output, maybe like a replay in order to better illustrate
a certain play that maybe just happened. Well here is how it works, we actually take
an XPression engines output and run it into a conversion to give HDMI, and then we put
it to a touch screen. We take the input of the XPression and feed
it with something like a replay server. And the end result would be something like
this, where your sportscaster would be able to select certain functions pre-programmed
into the keys and then draw on the output, and this is all happening on one layer of
the XPression. So, to put that into perspective, we could
have CG on one layer, clips on another layer, and this on another layer all on a single
output. Layered output and fram-accurate triggering. I’ve been telling you guys about layered
outputs throughout this entire thing and we are really going to nail that down and look
at it, but in a situation like this where you have multiple people hitting the same
XPression engine, you would have your technical director sitting at your Ross Acuity video
switcher triggering natively on the XPression through Ross Talk things like the replay scene,
the bug scene, and you would have your graphics operator triggering things like the lower
thirds, and the tombstone graphics, while at the same time, your telestrater is running
on a different layer so that your sportscaster can draw on the output. So let us put this to the test. We have some graphics here and what I am going
to ask Garner to do is change my layout to playout so that I can show you my output monitors. So really cool features you can set up as
many different layouts as you want. So here are my output monitor. What you are seeing here is output one of
the Xpression and output two. There are multiple layers to what each of
these lines represent on the output monitor. On the far monitor here so that you know that
we are not lying to you, we’re using two XPressions in our entire production right
now. One for our clips like I said is set up for
four fill outputs. So you see our title cards and our sports
clips are all coming from that. And then our primary XPression, which is set
up as a key fill key fill. Every single one of these graphics is going
to occupy only channel one. So Garner go ahead and take the burn. So you see that it is now occupying layer
one of output one, and we see it up here. So now were are going to go to the next graphics,
which is the player lower third, so both of these can be frame accurately triggerd from
the XPression operator, and you see now this is on layer ten. So just because this says layer negative three
through positive three does not mean that you cannot make higher layers or lower layers,
because it is just an index number. When we are setting up on our sequencer we
just say what “layer” it’s going to be on and it’s just going to add it to the
output monitor based on that layer. So now we are going to take the next one which
is going to be the scorebug, which can be triggered independently from your Ross switcher
or other switcher type, and now again you see occupying three layers. We are going run a replay wipe that is going
to go on layer fifteen, and it’s actually going to run a piece of script that is going
to clear all of the layers below it, as we take on another layer – our telestrate scene. And now our big announcement is Tessera and
multi-display real-time graphics designer and controller, which takes multiple XPression
and matrices them together to handle things like stadium jumbotrons, video wall monitors,
facia boards, ribbons, and anything you can possibly think of for large, massive, or irregular
shaped monitors or video walls, and that’s Tessera. So thank you very much for watching. Again this is Garner Millward, my name is
Ryan, and thank you.

2 Replies to “XPression Graphics Sports Workflows”

  1. Sería mucho pedir, poner subtitulos en español? o tal vez en alguien que sepa español para que dé la explicación. Somos muchos los que estamos interesados en aprender, pero tenemos ese gran inconveniente. Gracias.

  2. Good day Mr. Ryan Corcoran I have downloaded your Dashboard and I want to create custom panel for my volleyball scoreboard for our tv broadcast here in the Philippines. But due to time constraint I have no more time to run through learning process how to create one.I would like as you had said in your demo that you can create one for us. My email: [email protected] Thanks if you would consider my request. I'm requesting this in behalf of our company here in the Philippines who owns a couple of your units.

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