QTAKE Pro USER GUIDE 2.3

About

QTAKE Pro is the most advanced software designed and developed for video assist and DIT professionals. It logs, captures, plays, edits, and processes digital cinema camera’s video output and RAW recording. The main purpose of any video assist system is to provide immediate playback for the crew, but QTAKE Pro goes far beyond that. It provides a unique database, customizable to fit any project, real-time image processing up to 8K resolution, multi-camera support, on-set color grading, live editing, and much more.

The ability to capture metadata from a camera and other on-set devices makes QTAKE Pro an essential part of the workflow that fills the gap between production and postproduction. VFX supervisors around the world rely on QTAKE Pro to perform real-time on-set compositing with support for motion control and motion-tracking systems, GPI triggering, and CGI integration. QTAKE Pro offers unique stereoscopy support with industry-standard 3D output in live or playback mode and various 3D alignment modes using PLUS 3D View.

After the magazine is ejected from the camera, you can import RAW files into QTAKE Pro and match them to video recordings to preserve all metadata and on-set color grading. QTAKE Pro then provides the fastest and most effortless dailies export and sharing. In addition to impressive video assist and DIT software, QTAKE ecosystem includes QTAKE Server and QTAKE Monitor applications that provide unmatched on-set, and cloud-based collaboration using low-latency streaming, independent playback, and metadata editing.

Thank you for taking your on-set video services to a new level.

New in 2.3

The latest version of the industry-leading video assist software introduces powerful new features and enhanced functionality to streamline your production workflow. A major milestone in this release is the integration of support for the new ThunderFace 4K Duo, enabling superior GPU-driven SDI output.

Version 2.3 introduces a range of significant enhancements, including:

• ThunderFace 4K Duo Support
• GPU OUT iCMU Output
• Stereoscopic 3D Stream
• Stereoscopic 3D Export to MV-HEVC
• Overlapping Videohub Groups
• MRMC Flair Motion Control
• Garbage Matte Comp Mode
• FSI BoxIO Support
• Biometric Login
• Day For Night
• QTAKE Rehearsal Recording Indication

New in 2.2

Version 2.2 introduces a new set of industry-first features to redefine the standards of video assist tools and empower QTAKE Pro users with new, innovative capabilities and other enhancements.

• Dolby Vision® iCMU Output
• Dolby Vision® iCMU Preview
• Forensic Watermarking
• Interpolated Off-Speed Playback
• AJA ColorBox Support
• Export to Dolby Vision® HEVC
• Canvas Settings
• Right-Click Fast Clip Selection
• New LOOP/PONG Playback Options
• Individual Audio Gain Control
• MUTE LIVE Based on Recording
• MUTE LIVE Options per Input
• Permanent Delete
• New LIVE PASS Mode
• False Color Log
• QTAKE Monitor Nine Views Support
• UI output to Views
• GPU OUT Full area mode
• Video Window Mode when Hiding

New in 2.1

Version 2.1 brings another major update to QTAKE Video Assist software, this time focused on performance. With the increasing demand for multi-camera 4K capture and playback as well as High Dynamic Range support, real-time rendering requires every bit of processing power from available hardware.

The most important new features in QTAKE Pro v2.1 are listed below:

• Metal Support
• Unlimited Dock
• QOD HDR Output
• UI HDR Support
• Local Media Management
• Clip List Selection
• Mono Audio Support
• Blackmagic Design URSA Auto Recording
• NDI v5
• Pipeline Update
• GPU OUT Orientation
• Task Progress

New in 2.0

Version 2.0 marks an immense milestone in the development of QTAKE, with the new licensing model and substantial under-the-hood improvements. The application name has been changed to QTAKE Pro not just to emphasize its dedication to filmmaking professionals, but also to mark the beginning of the tighter collaboration with its user base, in the form of a public roadmap, features voting, educational webinars as well as premium technical support, which is essential to any flawless product use.

Following is the list of the most important features:

• Installation
• Licensing
• License Activation
• Custom Bundles
• Integrated QTAKE Lite
• Apple Silicon Support
• Unlimited Streaming
• Instant Playback
• Blackmagic Design RAW
• SAML Integration

Software Requirements

The change log for the latest release of QTAKE Pro can be found here. The following requirements may differ if you run an older version of a newer beta build. QTAKE Pro requires macOS 12.3 or newer. Recommended AJA video cards driver version is 16.2 or newer. Avoid using UFC firmware on cards that support it. Recommended Blackmagic Design video card driver version is 12.1 or newer. Recommended Deltacast video cards driver version is 6.18 or newer.

QTAKE Monitor and QTAKE Server

QTAKE Monitor 4.5.8 or later for iOS and macOS, or 1.2.0 or later for tvOS. QTAKE Server 2.2.2 or later.

Upgrading from QTAKE 1.6

There is a major change to QTAKE installation starting with version 2.0. To support multiple macOS system users without permission conflicts, the database and other supporting files are stored inside the home folder of each system user. Existing users will be prompted with the migration offer on the first run of QTAKE Pro 2.0.

If you want to keep your old projects, click the MIGRATE USERS AND PROJECTS button. This will copy the complete database to keep all data intact. Required media files will be copied to a new QTAKE PRO STORAGE folder on all your media drives using the hard-link method which doesn’t require additional disk space because it is just referring to original files. This way you can still access media through the old QTAKE version, but keep in mind any change made there will not be propagated to QTAKE Pro 2.0, or vice-versa.

Live clip FX
After migration from QTAKE 1.6 to QTAKE Pro 2.0 you will notice that clip effects are missing from live clips. This is unfriendly, but expected behavior. In most cases, your live clip effects will be the same as the ones on the last recorded clips, so you can simply copy them from the previous recording.

Automatic Updates

In addition to manual installation, there is an automated update process available in QTAKE Pro. As soon as a new version is released, you will be notified using a red badge in the Status Bar. When you click on it, the list of NOTIFICATIONS will open, displaying what update is available:

Here you can DISMISS the notification or SHOW the update. If you decide to proceed, a dialog with update details will pop up:

Based on the notes, you can decide whether to proceed with the update using the DOWNLOAD button. In case you want to do the update later, click the DISMISS button and you will be presented with the same update on the next run of QTAKE Pro. If you want to skip all minor updates and wait until the version number is changed, click the SKIP THIS VERSION button. It is always recommended to keep your app up-to-date.

Network Requirements

Networking has become a significant part of the video assist and DIT profession. Whether you are connecting multiple QTAKE Pro systems to provide master/slave control, or streaming video to on-set and remote clients, or just connecting external devices to your computer, a network connection is inevitable.

Bandwidth

Required network bandwidth depends on the use case. The most demanding functionality is video streaming, which can average around 3-4Mbps per client per camera for high-quality HD feeds. A single access point can handle around 10 wireless streaming clients, so you should scale your network accordingly. Use a Wi-Fi scanner and manually select radio channels to avoid dropped network packets caused by interference. When possible, use an ethernet cable instead of wireless connectivity.

Ports

In most cases, no additional configuration is necessary to use QTAKE Pro on your network. However, users on restrictive networks may need to allow traffic on specific ports depending on the QTAKE functionality they want to use.

QTAKE Stream

To stream over the local network, enable traffic to and from the following ports on the QTAKE Pro Video Assist System:

• TCP 8560
• UDP 8567

For QTAKE Cloud Stream, enable traffic for the following:

• api.qtake.cloud, TCP 443
• sync.qtake.cloud, TCP 8500
• stream.qtake.live, UDP 8550 – 8551

If possible, do not rely on any particular IP address these currently resolve to. The stream.qtake.live record is updated on each new deployment of QTAKE Cloud service instances, which may happen at any time. If you use it to configure your firewall, ensure it polls for changes every few minutes.

QTAKE Sync

To access independent playback over the local network, enable traffic to and from the following ports on the QTAKE Server System:

• TCP 8500 – 8600
• TCP 44443

For QTAKE Cloud Sync, enable traffic for the following:

• api.qtake.cloud, TCP 443
• sync.qtake.cloud, TCP 8500 – 8501
• sync.qtake.cloud, TCP 443 and 44443

Hardware Requirements

The basic configuration of a working QTAKE system consists of a computer, a video capture card for input (and optionally output), storage for the recorded and imported media, a GPU output device, and optionally external audio device. Recording, processing, and outputting multi-channel HD and 4K video is taxing these components, and some older computers will work with standard playback requirements. Adding image processing, compositing, or higher-quality codecs could result in dropped frames if the system is not up to the task.

QTAKE Pro works with a multitude of Apple Mac computers, video cards, audio devices, and GPU output converters. Listed below are recommended hardware configurations for HDx1, HDx2, HDx4 (4Kx1) and HDx8 (4Kx2) version of QTAKE.

What is the difference?
You can find a breakdown of the different modules and a side-by-side feature comparison at https://qtakehd.com/features/.

Apple Silicon Support

Apple Silicon has brought the next level of performance and thermal management to Mac computers. With QTAKE Pro, which runs natively on M1 Mac computers using universal-binary code, this new powerful platform can be used to its full extent, dismissing limitations imposed by the previous architecture.

Secure Enclave
To fully support flexible QTAKE Pro licensing, which allows you to easily transfer licenses between computers, Mac with T1, T2, or M1 chip is required. Without Secure Enclave contained in these chips, you will not be able to deactivate the license. The activated license will be locked to a single computer until it expires.

Apple Metal Support

The METAL framework provides unparalleled graphics performance on Apple hardware. Using this modern programming interface QTAKE can perform real-time image processing of multiple 4K streams in high color fidelity. In addition to accelerating video and CGI rendering it is also essential in producing HDR image representation in QTAKE UI.

Configurations

The following configurations are recommended to achieve optimal performance of QTAKE Pro. Performance varies greatly depending on the selected video codecs and image processing requirements. Generally, we recommend getting top-of-the-line Mac models to allow enough headroom for complex projects.

QTAKE Pro HDx1

This version provides recording of a single HD signal.

CPU
M1 (or Intel dual-core i7)

RAM
8GB memory or more

GPU (alternatives)
M1 (or AMD Radeon Pro)

MEDIA STORAGE (recommended read/write speed of 150 MB/s)
External USB 3 or Thunderbolt Drive

VIDEO CARD I/O
One 1-channel video card.
In case of live processing without ThunderFace or QOD, either one full duplex, two 1-channel, or one 2-channel card is required.

PROCESSED GPU OUTPUTS
IN2CORE

• ThunderFace 4K Duo
• QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Pro HDx2

This version provides recording of two HD signals.

CPU
M1 (or Intel quad-core i7)

RAM
8GB memory or more

GPU (alternatives)
M1 (or AMD Radeon Pro)

MEDIA STORAGE (recommended read/write speed of 150 MB/s)
External USB 3 or Thunderbolt Drive

VIDEO CARD I/O (alternatives)
Two 1-channel or one 2-channel video card.
In case of live processing without ThunderFace or QOD, either one full duplex 2-channel, one 4-channel, or two 2-channel cards are required.

PROCESSED GPU OUTPUTS
IN2CORE

• ThunderFace 4K Duo
• QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Pro HDx4 / 4Kx1

This version of QTAKE supports a recording of four HD or one 4K video signal.

CPU
M1 Pro/Max (or Intel quad-core i9)

RAM
16GB memory

GPU
M1 Pro/Max (or AMD Radeon Pro)

MEDIA STORAGE (recommended read/write speed of 300 MB/s)
External USB 3 or Thunderbolt Drive

VIDEO CARD I/O
QTAKE HDx4 requires two 2-channel or one 4-channel video card.
In case of live processing without ThunderFace or QOD, either one 4K full duplex 4-channel or two 4-channel cards are required. QTAKE 4Kx1 requires a 4K video card.

PROCESSED GPU OUTPUTS
IN2CORE

• ThunderFace 4K Duo
• QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Pro HDx8 / 4Kx2

This version of QTAKE supports a recording of eight HD or two 4K video signals.

CPU
M1 Max/Ultra (or Intel 8-core Xeon)

RAM
16GB memory

GPU
M1 Max/Ultra (or AMD Radeon Pro W5700X)

MEDIA STORAGE (recommended read/write speed of 600 MB/s)
External USB 3 or Thunderbolt Drive

VIDEO CARD I/O (alternatives)
QTAKE HDx8 requires two 4-channel or one 8-channel video card.
In case of live processing without ThunderFace or QOD, either two 4K full-duplex 4-channel or two 8-channel cards are required. QTAKE 4Kx2 requires two 4K video cards.

PROCESSED GPU OUTPUTS
IN2CORE

• ThunderFace 4K Duo
• 2x QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Pro 4Kx4

This version of QTAKE supports a recording of four 4K video signals.

CPU
M1 Ultra (or Intel 16-core Xeon)

RAM
32GB memory

GPU
M1 Ultra (or AMD Radeon Pro W6900X)

MEDIA STORAGE (recommended read/write speed of 1200 MB/s)
External USB 3 or Thunderbolt Drive

VIDEO CARD I/O (alternatives)
Video cards with four 4K channels.
In case of live processing without ThunderFace or QOD, four full duplex 4K channels are required.

PROCESSED GPU OUTPUTS
IN2CORE

• 2x ThunderFace 4K Duo
• 4x QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Live HDx2

This version provides streaming of two HD video signals.

CPU
M1 (or Intel quad-core i7)

RAM
8GB memory or more

GPU (alternatives)
M1 (or AMD Radeon Pro)

VIDEO CARD I/O (alternatives)
Two 1-channel or one 2-channel video card.
In case of live processing without ThunderFace or QOD, either one full duplex 2-channel, or one 4-channel, or two 2-channel cards are required.

PROCESSED GPU OUTPUTS
IN2CORE (optional)

• ThunderFace 4K Duo
• QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Live HDx4 / 4Kx1

This version supports streaming of four HD or one 4K video signal.

CPU
M1 Pro/Max (or Intel quad-core i9)

RAM
16GB memory or more

GPU
M1 Pro/Max (or AMD Radeon Pro)

VIDEO CARD I/O
QTAKE HDx4 requires two 2-channel or one 4-channel video card.
In case of live processing without ThunderFace or QOD, either one full duplex 4-channel or two 4-channel cards are required. QTAKE 4Kx1 requires a 4K video card.

PROCESSED GPU OUTPUTS
IN2CORE (optional)

• ThunderFace 4K Duo
• QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

QTAKE Live HDx8 / 4Kx2

This version supports streaming of eight HD or two 4K video signals.

CPU
M1 Max/Ultra (or Intel 8-core Xeon)

RAM
16GB memory or more

GPU
M1 Max/Ultra (or AMD Radeon Pro W5700X)

VIDEO CARD I/O (alternatives)
QTAKE Live HDx8 requires two 4-channel or one 8-channel video card.
In case of live processing without ThunderFace or QOD, either two full-duplex 4-channel or two 8-channel cards are required. QTAKE 4Kx2 requires two 4K video cards.

PROCESSED GPU OUTPUTS
IN2CORE (optional)

• ThunderFace 4K Duo
• 2x QOD+

ANALOG AUDIO IO
Focusrite Scarlett 2i2 (or any other external audio card with Core Audio driver)

VIDEO CARDS

Following SDI video cards are natively supported in QTAKE. Additionally, QTAKE can capture video coming from NDI®, RTSP (Teradek Cube), QLS (QTAKE Live Stream), or video cards supported by the macOS system, such as USB-3 connected Teradek Bolt Receiver.

1. Multi-channel SDI Passthrough requires frame-synced inputs.
2. Not possible to mute SDI passthrough audio.
3. Passthrough video has 2 frames of delay.
4. Input formats are limited to the same clock family.
5. Only ARRI Metadata and only with the camera set to output PsF.
6. Only available in 10bit mode.
7. Does not support VITC1 timecode.
8. Bus-powered device, no loopback TB port.

What if I use more than one video card?
The information in the table is only valid as a comparison between single cards. Multiple video cards can be used to allow for up to eight HD or four 4K inputs and outputs.

Output
The term “output” in this chart only refers to SDI output from the video card. GPU output from ThunderFace 4K Duo and QOD+ is independent of video card outputs.

Connection Diagram

Below is an example of the complete QTAKE Pro HDx4 system configuration based on Apple Mac Pro.

Installation

Installer places the QTAKE Pro application into the Applications folder to make it available to all system users. With each new release, you will get an email with a link to download Installer containing the latest build of QTAKE Pro. Running this Installer will update your system without affecting your settings or projects. If you prefer an automatic update process, see more details in the Automatic Updates section.

System User Accounts

Starting with version 2.0, the QTAKE Pro application can be used by multiple system user accounts. However note, that each system user will have their own database, which means his own set of projects. If you want multiple users to share the same projects, use a single system account and multiple QTAKE users.

Before you start

For performance reasons, make sure to UNCHECK the following features in the macOS System Preferences:

• Energy Saver - Put hard disk(s) to sleep when possible
• Energy Saver - Automatic graphics switching (in case you are running a computer with this option)

It is also recommended to set the Computer sleep and Monitor sleep to NEVER and disable any screen saver. Turn off the Spotlight indexing service for your media drives in the System Preferences by putting the hard drive into the Privacy section.

We recommend using static refresh rate of 60Hz on GUI or External monitors to prevent unexpected screen flashing. Variable refresh rate or Apple’s ProMotion is not recommended as it can create excessive screen refresh or black frames.

EULA

QTAKE Pro will present an End User License Agreement on the first start. Enter your LICENSEE NAME, LICENSEE COMPANY, LICENSEE EMAIL, and LICENSEE ADDRESS into corresponding fields and agree to the terms of the agreement if you want to proceed.

Migration

If you are an existing QTAKE user and you want to preserve current projects, refer to the Upgrading from QTAKE 1.6 section.

Custom Logo for No Video Signal Screen

To use a custom logo for the NO VIDEO DETECTED screen in QTAKE Pro View, drag and drop a PNG file named QTAKE_View_Logo.png into the QTAKE Dock icon. QTAKE will confirm the successful application with a SYSTEM INFO message saying Stored New QTAKE View Logo.

Features

The following sections will cover various operational modes of the QTAKE Pro application, each providing different functionality.

Feature Details

Input

Recording

Proxy

Streaming

Playback

Clip Navigation

Database

Import

Export

View FX

Clip FX

Color Grading

Stereoscopy

Editing

Compositing

CGI

Output

Scopes

Network

Integrations

Licensing

To provide sustainable development with frequent updates and premium technical support, there is no permanent licensing possible starting with QTAKE Pro 2.0. In addition to daily, weekly, and monthly rates available in the online shop, new 1-year and 3-year license pool options are offered exclusively through the sales network. Contact your dealer for more info.

QTAKE Rental Shop

Licenses for QTAKE applications are ordered through the online QTAKE Rental Shop, where you need to select MODULES, DATE RANGE, OPERATORS, and enter RENTAL NAME, which is used as an identifier of the license. Only selected operators will be able to activate or deactivate this license on their computer running QTAKE Pro. To access the online shop and order rentals you will need to create an OWNER shop account.

You can access QTAKE Rental Shop directly from the QTAKE Pro user interface. See the LICENSE section for more information.

To create a shop account and rent modules visit: QTAKE Shop

For instructions on how to use the shop, see: INSTRUCTIONS

Custom Bundles

Unlike previous versions of QTAKE, where discounted bundles were locked to a specific set of modules, with QTAKE Pro you can create any combination of modules, and each additional module will increase the discount percentage. A similar policy is available for customers with multiple licenses. Contact your dealer for more info.

License Pool

All QTAKE owners registered in the online shop have a pool of licenses associated with their accounts. When a long-term license is purchased, it will be added to this pool. Subsequently, creating a new rental will result in a free license for modules that are available in the license pool for the specified date range. You can combine free modules with paid modules at will. Usually, your license pool will contain long-term licenses with the most commonly used modules. However, if your current job requires some special module, which is not part of your long-term license, you can simply add it to your rental and pay for it on a need-to-use basis.

License Activation

Each license for QTAKE Pro is created in the online shop using the NEW RENTAL page, whether it is a paid rental or a free one created from your license pool. However, instead of specifying a machine, you will now select operators who can activate the license. Activation is done directly in the QTAKE Pro application, to avoid any misconfiguration. Each license can be deactivated at any time to provide seamless transfer to another computer, effectively replacing USB dongles.

QTAKE MODULES

You can use a basic QTAKE system as a simple record and playback system, but it goes far beyond that. You can configure QTAKE to fit all your needs by adding modules for editing, compositing, streaming, or any other feature your next project requires.

BASE

This is the main module of the QTAKE application. It is built on top of a powerful clip database that lets you manage clips and their metadata. Using the BASE module you can set up any SD or HD/2K resolution project, capture camera output, and instantly play clips back at variable speed in a flexible, custom-designed dual-view UI. Use multiple in/out ranges, chapters, and sub-clips to navigate long clips. Quickly access any clip using a tree-based visual browser or a filtered and sorted table browser.

Powerful GPU-driven processing provides real-time CDL color correction, 1D and 3D LUTs, image transformation, and various image effects. QTAKE Views can display any combination of live and disk sources, just like using a hardware matrix switcher.

The BASE module includes SDI metadata readout from ARRI, RED, CANON, and SONY professional digital cinema cameras so you can use auto-record and original camera media filenames to improve production workflow.

EDIT

With the addition of this module, you can quickly create sequences of clips to check continuity, avoiding the slow process of exporting footage to external NLE. EDIT module is a single-track editor capable of inserting, replacing, and reordering clips. You can change the speed of each clip and use a fast dual-view trimmer to visually adjust each cut for a frame-accurate result. The sequence can be exported to a 3rd party application as an EDL or a Final Cut Pro sequence to speed up the postproduction process. See more in the EDIT Room section.

COMPOSITE

This module provides a real-time overlay of two sources to create VFX shots during filming. Custom offsets and GPI triggering allow you to control the background playback. Multiple blend modes, blue/green-screen keyer with de-spill, luma keyer, and wipe transition will help you fulfill any director’s request. Use the RENDER function to create composites with an unlimited number of layers. See more in the COMPOSITE Room section.

EXPORT

Using this module you can export your project to Final Cut Pro, Adobe Premiere, or Avid Media Composer with all metadata and bins for recorded scenes and shots. Since QTAKE captures media filenames from digital cinema cameras, you can use captured files for offline editing ready to be conformed using original camera media. See more in the EXPORT Menu section.

LINK

You can connect 2 or more QTAKE systems using a network to provide video assist for multiple cameras. You can capture and play up to 36 video feeds simultaneously when controlling eight slave systems from a single master QTAKE. Playback of all systems is synchronized with frame precision. See more in the LINK Menu section.

X2

This module adds dual camera capture and playback functionality. You can configure each video input independently to provide a recording of two different formats. X2 module also enables stereoscopy mode with local or remote HIT control for parallel stereo productions, providing industry-standard 3D output live, capture, and playback mode.

MUXER

MUXER module enables recording two 3D rigs on a single Mac using a 2x dual channel or single four-channel video input card. QTAKE will capture two video feeds into a side-by-side clip and allow HIT control for each 3D pair. MUXER module provides independent convergence settings, demuxing, and remuxing, with no need for an external 3D processing device. See more in the MUXER Menu section.

STREAM

This module turns macOS, tvOS, and iOS devices into wireless monitors. It provides secure, ultra-low latency streaming to up to 160 clients. In addition, one device can use the TALKBACK feature to transmit voice communication between the director and the QTAKE operator. You can capture directly from NDI® or Teradek Cube without a video card. Using QTAKE Credits it allows streaming across the internet to remote clients worldwide. See more in the STREAM Menu section.

SCOPES

SCOPES module provides means to analyze live or playback image using real-time waveform, vectorscope, and histogram tools. Each tool has a selectable mode of operation and adjustable intensity with optional output to an external monitor. In addition, the SCOPES module provides an adjustable FALSE COLOR mode for analyzing image exposure. See more in the SCOPES Menu section.

X4

This module enables the capture, processing, and playback of either one 4K channel or up to four HD channels within a single QTAKE system. It allows you to perform a live cut of four video feeds and manage two stereoscopic rigs simultaneously. To utilize this module, you will need the X2 module and a 4-input video card. For low-latency processed output with four independent channels, we recommend using ThunderFace 4K Duo or QOD+.

X8

This is the ultimate video assist system designed for up to two 4K cameras or eight HD cameras. It supports four-channel stereoscopic capture and playback, as well as eight-track live video editing. To utilize this system, you will need the X4 module and an 8-channel video interface. For low-latency processed output with eight independent channels, we recommend using ThunderFace 4K Duo or 2x QOD+.

4Kx4

This is an add-on module that provides support for up to four 4K cameras. It allows you to record, process, and play back four independent 4K channels or two full-resolution 4K stereoscopic channels. Additionally, it supports 4-track live video editing in 4K resolution. This module requires the X8 module and a 4-channel 12G video interface. For low-latency processed output with four independent 4K channels, we recommend using 2x ThunderFace 4K Duo or 4x QOD+.

CGI

CGI module allows you to import a 3D scene and have QTAKE render it in real-time, just like if it was a playback of the pre-rendered 3D scene, with one huge difference: you can freely position the virtual camera to match video or use MoCo camera to make it follow external positioning data. Using this module, QTAKE can read data from Marc Roberts Motion Control, C-Mocos, or Technodolly and apply the same camera movement to a 3D scene. See more in the CGI Menu section.

AVID

One of the most popular non-linear editing systems used in film production is the Avid Media Composer. AVID module provides advanced support for this editing platform by transcoding QTAKE media to native Avid DNxHD/DNxHR® codec. In addition to the manual export of selected clips, you can turn on auto-export to automatically transcode each new QTAKE clip to a Media Composer-compatible MFX file.

RAW

QTAKE can import RAW files from ARRI, CANON, RED, and SONY digital cinema cameras as well as DNG files. It will automatically extract metadata and match media files to existing clips, preserving all metadata and clip effects, such as live grading. External audio files can be automatically synced to video files. This way, you can export dailies most simply and effortlessly and provide the fastest way to editorial or post-production facility. See more in the RAW section.

DOLBY

QTAKE integrates support for the Dolby Vision® set of technologies for HDR mastering and delivery, developed by Dolby Laboratories. While Dolby Vision support is included with the GRADE module, specific features require the DOLBY module. Below is the list of features requiring this module:

• iCMU SDI OUTPUT
• iCMU GPU OUTPUT
• iCMU PREVIEW
• Export to Dolby Vision HEVC
• Dolby Vision® Trims

FORENSIC

The module is required for the Forensic watermark option, also known as an “invisible” watermark, a pivotal security feature that adds an imperceptible yet robust identifier to your QTAKE Stream.

SYNC

This module is used to run the QTAKE Server application. When used with the QTAKE Video Assist application SYNC module license unlocks REMOTE CONTROL functionality in the QTAKE Monitor app for iOS devices.

QTAKE LIVE MODULES

QTAKE LIVE is a stream-only version of QTAKE. In addition to multi-camera input and streaming, it provides real-time image processing, such as color-grading or geometric transformations. See Version Selector section for more information about switching QTAKE into stream-only mode.

LIVE2

LIVE2 is the main module of the QTAKE Live application. It enables dual camera input and streaming in a single module (there is no need for BASE, X2, and STREAM modules). You can configure each video input independently to stream two different formats.

LIVE4

Add this module to stream a single 4K or four HD camera feeds. It requires the LIVE2 module.

LIVE8

This module provides input and streaming of two 4K or eight HD cameras. LIVE4 module is required.

COMMON MODULES

The following modules are available for both QTAKE and QTAKE Live.

OUTPUT

With the OUTPUT module, you can output full-screen video to external monitors. It uses a secondary port of a video card to provide a low-latency monitoring solution. This module is required when adding a ThunderFace4K Duo or QOD+ hardware devices to your system to provide independent SDI outputs with embedded audio. For 3D stereo projects, the OUTPUT module provides muxed output formatted for a 3D monitor. See more in the GPU OUT Menu section.

GRADE

This module provides sophisticated color-grading effects applicable to live signal or playback, including ACES color management. It also features the state-of-the-art COLOR MATCH effect that automatically grades your clip to match the reference image. In addition to internal QTAKE processing, you can dynamically upload color correction to external LUT devices, such as Fuji IS-mini, Teradek Colr, FSI BoxIO, AJA FS-HDR, or export as a 3D LUT to a 3rd party application.

This module also enables basic Dolby Vision® support, such as Live Analysis, Streaming to QTAKE, and HDMI output. Advanced features based on Dolby Vision® technology require the DOLBY module.

QTAKE CREDITS

Unlike other QTAKE functionality, which requires a license file with specific modules, QTAKE Cloud Stream and QTAKE Cloud SYNC services uses consumable CREDITS.
See more info in the

• Cloud Stream section,
• Cloud SYNC section of the QTAKE Server User Guide.

Workflow

Originally designed as a feature-rich video assist tool, QTAKE now goes way beyond its roots. It offers complete on-set workflow, from recording camera output to exporting RAW-based dailies. Using a single tool for all these tasks saves a lot of time because there is no need to export, import, and convert projects between various 3rd party apps.

For example, you can apply the same look to RAW files you used during live monitoring. It simplifies rendering dailies to a single-click action.

INPUTS AND RECORDING

QTAKE can record video, audio, and metadata from various sources. It usually captures uncompressed signals using the SDI video card, encoding it to the efficient Apple ProRes codec and storing it in Apple QuickTime file format. See the PROJECT Menu section for more details about the Project setup.

Following is an overview of the recording features:

• Recording 8 camera feeds with up to 16 channels of audio
• Video, audio, and metadata mixed from different sources
• Adjustable delay for video, audio, and timecode
• Pulldown removal recording mode
• Manual or automatic record start and stop
• Setting multiple ranges during recording
• Thumbnail frame selection during recording
• Full-resolution screenshots
• Entering metadata during live monitoring or recording
• Automatic incrementation of the take number
• Capturing metadata from SDI signal or network interface
• Simultaneously recording processed PROXY media files
• Recording live composites if quick export is needed

For more details about recording, see the RECORD Menu section.

PLAYBACK

There are numerous playback options available in QTAKE to provide the best possible navigation through clips, which sometimes contain multiple takes recorded in a single run.

• Regular speed forward and reverse playback
• Variable speed forward and reverse playback
• Speed ramping with multiple keyframes
• Frame-by-frame and custom time skip function
• Jump to IN or OUT mark
• Jog and shuttle playback
• Time slider
• Multiple IN/OUT ranges with multiple groups
• Chapter markers with conversion to ranges
• Loop single range or all ranges
• Timecode or frame count display
• Slave playback with custom offset
• Synced playback with custom offset for each View
• GPI-triggered playback

For more details about playback see the PLAY Menu section.

Instant Playback

All video assist operators know how frustrating it is to wait for the camera to cut to provide playback. With the Instant Playback feature, you can start playback as soon as the director asks for it, even if the camera is still rolling. QTAKE will record the rest of the take in the background so you can have edit-ready proxy files exactly matching the camera recording, including off-speed shots up to 60 fps.

To use this feature, set the Enable Instant Playback preference to YES. PLAY command activates the feature. It’s triggered by using the keyboard shortcut or clicking the PLAY button in the PLAY toolbar. You can continue monitoring the LIVE signal by clicking on the LIVE clip from the LIST or clicking the LIVE button in the PATCH toolbar. Instant playback clip is available during the whole recording process.

Note that PATCH to DISK always loads the last played clip in the View. It might be the Instant Playback clip during recording or an already recorded clip.

Instant Playback mode uses a fragmented recording method that puts additional strain on the media drive. Consider using faster drives if you wish to enable this feature.

Personal Playback

Traditionally, the video assist operator has provided playback for the director. The big downside of this centralized playback concept is that all on-set monitors show the same clip. However, sometimes it is required to show a different clip to the producer, script supervisor, VFX supervisor, etc.

QTAKE SERVER application solves this problem by providing independent playback for any authorized crew member. You can access a QTAKE project through the QTAKE MONITOR app on personal portable devices such as iPhones and iPads. In addition to clip browsing and playback, crew members can enter metadata values independently of the QTAKE operator.

All data is automatically synchronized so you can share all information, while QTAKE SERVER will not allow duplicate value entries. For example, the script supervisor doesn’t need to enter lens info because it has already been entered by the assistant camera or extracted directly from the SDI camera feed.

OUTPUTS AND STREAMING

The most common output from QTAKE is over the SDI interface. You can achieve this using a video card output, or you can also use a dedicated ThunderFace 4K Duo or QOD+ (QTAKE Output Device), which offers lower latency and more advanced output options, such as multi-view, stereoscopic output, etc. In addition to traditional SDI, you can use the NDI® interface, which provides high-quality output over standard network infrastructure. NDI input and output require STREAM module license.

WIRELESS STREAMING

One of the many powerful features of QTAKE is wireless streaming to iOS devices. Using a custom streaming protocol, QTAKE provides secure, ultra-low latency output of the processed image for up to 160 clients. Streaming can work over a local Wi-Fi network, but it can use QTAKE Cloud to establish a remote session over the Internet. See more details in the STREAM Menu section.

Dolby Vision®

QTAKE integrates support for the Dolby Vision set of technologies for HDR mastering and delivery, developed by Dolby Laboratories. One of the most important use cases this integration enables is remote color-grading. There are many cases when clients can not attend editing or color-grading session in person and can not rely on exported clips because of the slow turn-around. QTAKE offers a solution for interactive and effective remote grading thanks to its high-quality, low-latency streaming of Dolby Vision-enabled content. Current Dolby Vision functionality is included in the GRADE Module.

10bit mode
Dolby Vision integration in QTAKE was designed for the 10-bit QTAKE version to provide the best experience. Most of the features work only in the 10-bit version. If you are running the 8-bit QTAKE version and will try to use Dolby Vision feature, you will be prompted to switch to 10-bit or cancel the operation.

Setup

When starting a QTAKE project, you have to set HDR MODE to Dolby Vision® 2.9 or 4.0 using the project settings window.

Next, you need to set MASTERING and TARGET monitor from the available presets.

Alternatively, you can turn on the CUSTOM option to manually set values for PRIMARIES, WHITE POINT, MINIMUM LUMINANCE, and MAXIMUM LUMINANCE according to your monitor specification.

Input

If available, QTAKE will extract frame-based Dolby Vision® metadata when capturing live HDMI signal using a compatible video card. In the case of SDI, QTAKE will extract Dolby Vision metadata if the signal was generated by another QTAKE system. In addition to live input, QTAKE can also import video files with metadata contained in the external XML file.

Output

When using HDMI output, Dolby Vision® metadata is embedded into the signal using the “tunneling” method, compatible with Dolby Vision TV devices. Additionally, QTAKE can output Dolby Vision-enabled content over SDI output. In this case, metadata is embedded into the SDI signal to provide a connection to another QTAKE system. When remote monitoring is required, QTAKE will embed Dolby Vision metadata into QTAKE Cloud Stream. See more info in the Live Stream section below.

Live Analysis

When Dolby Vision® output is enabled and no metadata is detected in the input signal, QTAKE will automatically perform Dolby Vision Live Analysis in real-time. The result of this analysis is the L1 metadata, used to provide Dolby Vision enabled output to supported systems, such as Dolby Vision TV devices or another QTAKE system.

PAUSE DOLBY VISION® LIVE ANALYSIS

To pause real-time image analysis performed by the Dolby Vision processing use the HERO FRAME mode for the LIVE clip. It will keep the Dolby Vision metadata set to the HERO FRAME value. This function is useful when performing live color grading that would otherwise be dynamically compensated by the Dolby Vision processing. When you finish live color adjustments, you can switch the Dolby Vision mode to Live Analysis to resume dynamic processing.

Live Stream

As mentioned, the most common use case empowered by Dolby Vision® support in QTAKE is the remote color grading or editing session. This setup requires two QTAKE systems:

SENDER - QTAKE System residing in the color-grading or editing suite, capturing color-graded Dolby Vision output and streaming it over the QTAKE Cloud.

RECEIVER - client-side QTAKE system responsible for receiving QTAKE Stream and providing output to Dolby Vision-enabled HDMI monitor or a TV device.

To enable Dolby Vision metadata in QTAKE Stream, open the STREAM SETUP (long click the Stream button in STREAM toolbar) window on the sender QTAKE system, click the double arrow (») next to NETWORK SETTINGS button to reveal HDR option for each stream and set it to Dolby Vision. On the receiver system, enable Dolby Vision output as described in the Dolby Vision output section.

iCMU

QTAKE can perform real-time Dolby Vision® analysis, output Dolby Vision over SDI and HDMI, and stream from QTAKE to QTAKE. It supports three Dolby Vision modes using shot-based Dolby Vision metadata (Live Analysis, Shot-based Analysis, Hero Frame) and an Internal Content Mapping Unit (iCMU) with Trim Controls. The Dolby Vision Content Mapping Unit (CMU) enables real-time Content Mapping processing for Dolby Vision-mastered content to move color grading in QTAKE Pro to the next level. During the content creation, the Dolby Vision Content Mapping also enables HDMI Tunneling, allowing you to preview the Dolby Vision work on a Dolby Vision consumer television.

HDR to SDR Mapping

If there are both HDR and SDR monitors on set, QTAKE can convert the HDR content to SDR using precise Dolby Vision tone mapping.

Note that the DOLBY module is required.

Workflow

1) Set HDR Project settings to Dolby Vision® 4.0.

2) Set the MASTERING monitor type according to the source HDR signal.

3) Set the TARGET monitor type according to the monitoring display.

4) If the camera supports HDR color space, we recommend setting AUTO COLOR SPACE to YES or choosing color space manually.

5) To Allow iCMU mapping, go to SHOOT room -> VIDEO OUT menu -> Double arrow (») -> Set Dolby Vision® iCMU on desired View.

To customize Dolby Vision iCMU even further, check Dolby Vision Trim Controls.

Note that when using HDMI OUT and V-OUT simultaneously, QTAKE reserves the channel selected in the HDMI OUT menu for HDMI output, and you cannot set it for HDR to SDR mapping.

Simultaneous HDR and SDR output

With the introduction of iCMU, you can create a preview of Dolby Vision on HDR TV via HDMI Tunneling and simultaneously have Dolby Vision Tone Mapped output on your SDI Monitor (Rec.709) via iCMU Content Mapping.

Note that the DOLBY module is required.

Workflow

1) Set HDR Project settings to Dolby Vision® 4.0.

2) Set the MASTERING monitor type according to the source HDR signal.

3) Set the TARGET monitor type according to the monitoring display.

4) According to your preference, set AUTO COLOR SPACE to YES or choose color space manually.

5) To activate HDMI tunneling, go to SHOOT room -> HDMI OUT menu -> Activate the HDMI OUT button and select the source View. Then click the double arrow (») and select Dolby Vision® 4.0 HDR Mode.

6) To allow iCMU mapping, go to SHOOT room -> VIDEO OUT menu -> Double arrows -> Set Dolby Vision® iCMU on desired View. Note that the channel selected in the HDMI OUT menu is reserved for HDMI output and cannot be used for iCMU mapping.

To customize Dolby Vision iCMU even further, check Dolby Vision Trim Controls.

METADATA

QTAKE is second to none when it comes to metadata. Projects and clips contain pre-defined metadata fields to store the most common information, but you can create additional custom metadata to fit any production type. Following is an overview of the metadata features:

• Fast metadata entry using choices and keywords
• Selection of the metadata source per field
• Metadata synchronization between cameras
• Automatic copy of value for Shot, Scene, or Episode
• Custom metadata fields with different value types
• Support for regional settings and units
• Access permissions using metadata groups
• Synchronization over local network or cloud
• Static and dynamic (frame-based) metadata support

See the META section for more details about metadata.

ALE

Avid Log Exchange is the most popular format for metadata exchange between 3rd party systems. QTAKE provides custom mapping for both the import and export of ALE files. You can find more details in the Import ALE and Export METADATA sections.

RAW

RAW module enables import, playback, and processing of RAW camera media. It is the highest quality media, comparable to analog negative stock. Usually, it is an uncompressed or slightly compressed read-out of the bayer sensor, which means it needs heavy-duty computing to transform it into a regular RGB image suitable for viewing. Each camera vendor has a different format and color science. QTAKE supports the following RAW file formats:

• ARRI RAW (.ari) and ARRI MXF (.mxf), including HDE
• SONY RAW and SONY X-OCN (.mxf)
• RED RAW (.r3d)
• CANON RAW MXF (.mxf)
• Blackmagic Design RAW (.braw)
• DMG (.dmg)

MATCHER

Since QTAKE is used to record camera output for video assist purposes, it contains all clips captured by the camera. However, the SDI interface used on most professional cameras limits the media resolution, frame rate, and color fidelity. To provide full quality dailies, you can import original camera media.

After importing RAW camera media files, QTAKE tries to match them to existing clips to preserve all entered metadata, live grading, clip effects, sequences, etc. The best matching method is based on CMF (Camera Media Filename) because it is 100% accurate. If no CMF is recorded, timecode, date, and camera letter is used instead. If the result is not 100% accurate, QTAKE will show all hits and let you decide which clip new media should link to.

Each imported or linked file will be represented by one row in the matching table. Clicking the row will toggle its color. If the row is discolored, it will be skipped, and only colored files will be imported. You can expand each row to select the import method. There are 4 options available based on the result of the matching process:

• CREATE - media file will be imported and stored as a new clip
• USE - media file will be attached to existing matched clip as respective media type
• CLONE - media file will be imported and stored as a new clip, but QTAKE will clone existing matched clip metadata
• AV SYNC - new audio clip will be created, and audio media will be attached to matching video clips

In some cases, you may need to narrow down the number of clips that QTAKE is trying to match to avoid false matches. You can do this using UNIT and SHOOT DAY filters, which will match import only to clips from the specific unit or shoot day. Additionally, you can easily discard the import of the MATCHED or UNMATCHED clips using the SKIP filter.

AUDIO SYNC

After matching and importing audio media, QTAKE will automatically synchronize it to video media, based on timecode. If the timecode is off, you use MEDIA Toolbar to adjust AV sync manually in 1/4 frame increments, providing sufficient precision even for the most demanding audio synchronization tasks.

RAW PROCESSING

Unlike video files, which are stored as RGB or YCbCr pixel data, RAW files are usually representing Bayer-type sensor readout that needs de-compression, de-mosaic, sharpening, color correction, and other image processing techniques applied to be visualized. This work is usually done by the vendor-supplied processing engine, which is mostly automated, but certain aspects of the process can be modified. QTAKE is using the INPUT FX page of the FX sidebar to present you with available options for each RAW format.

QUALITY CONTROL

Using RAW media playback and multiple in-out ranges, QTAKE can be used to create frame-based metadata, passing the QC info about image imperfections to post-production. For more information on how to create a new set of in-out ranges, see the RANGES section.

ON-SET DAILIES

During production, the first role of QTAKE is the video assist role, automatically recording the video output of the camera, while the camera is recording its full-quality original media files. After filling out the magazine, it is taken out of the camera to create backup copies and export dailies for editorial. This is where the second, DIT role of QTAKE comes into play. Having all the metadata and color decisions collected during recording, QTAKE can automatically use this extensive information to process RAW media into edit-friendly Apple ProRes, Avid DNxHD, or any other supported file format and codec, saving production time and issues caused by data transfers between different systems. See the Automated Pipeline Export section for more details.

REAL-TIME IMAGE PROCESSING

All image processing is executed in real-time, which means it can be used both for live feed and recorded clips. It is recommended to always record clean log image without LUTs or overlays applied. This non-destructive workflow will allow you to tweak any aspect of the final image at any time during the life cycle of each clip.

COLOR GRADING

Most professional cameras will record and output flat signal with a wide gamut color space to provide as much dynamic range as possible. For on-set monitoring, you can just apply a simple Log to Rec.709 conversion using pre-defined LUTs to provide a standard contrast image. But filmmakers often want to establish a specific look when preparing and lighting the scene.

QTAKE offers professional color correction tools. In addition to internal processing, QTAKE can send live color grading data to an external LUT box to provide zero-delay processing. For more details on color correction see COLOR CATEGORY section.

LIVE VFX COMPOSITING

QTAKE has a dedicated room for compositing. It uses two video channels to perform real-time dual-layer composite using Chroma Key, Luma Key, Wipe, and various blending modes. Each layer can have an unlimited number of effects, such as transformation, masking, color correction, blur, etc. If more layers are required, the composite can be rendered and used as a single layer while adding a new one. QTAKE has full control over the timing of each layer, so compositing can be used for stacking motion control passes. In addition to GPI triggering, there is a timecode chase feature called SLAVE PLAYBACK. This means that you can preview blending with a pre-recorded background even during the motion control browse move.

CGI

When the pre-recorded or pre-rendered background is not good enough, there is an option to import a 3D CGI scene. In combination with capturing motion control or motion tracking data, QTAKE can create a virtual 2D or stereoscopic camera to render a CGI background and composite it with a live or playback image. You can place a live layer at a certain 3D depth to have CGI elements appear in the foreground and background.

ON-SET EDITING

A simple built-in editor helps the director quickly check continuity. Fast trimming with all popular trimming types works both with precision frame-by-frame and view-drag modes. After switching back from the EDIT room, the sequence is accessible inside the SHOOT or COMPOSITE room as a regular clip.

AUTOMATED PIPELINE EXPORT

One of the most powerful features of QTAKE 1.5 is the new file export. After selecting clips in the LIST, click the FUNCTION button and choose the EXPORT TO FILE option.

This simple dialog will open to let you select the export process using the PIPELINE. Click the EDIT PIPELINE button to customize it. Turn on the OVERWRITE option in case the same files were already exported and you wish to overwrite them.

PIPELINE

The essential tool that makes automatic export possible is the PIPELINE. It allows you to create a complex template that includes all stages of the process. Pipeline provides the most efficient way to export multiple deliverables because it supports branching. This means that parts of the process that are common to all deliverables are performed only once.

The PIPELINE is formed by creating and connecting nodes in five different columns, which represent stages of the export process.

READ

The READ node is used to specify the rendering source. Set the SOURCE MEDIA TYPE to define what type of media will be used to process selected clips. The AUDIO option is used to select if embedded or external audio should be used. IN/OUT RANGE defines if the whole clip duration is rendered or only part of it. In case of RAW media, you can select FILE-based or QTAKE-based INPUT FX RAW SETTINGS as well as RAW DEBAYER QUALITY. If set to AUTO, it will use quality settings from the playback interface. Read node can branch into multiple process nodes to speed up the rendering of multiple look versions.

PROCESS

Process node is used to apply MEDIA FX and CLIP FX.

• You can choose to render selected clips with all media effects stored for a specified media type or no media effects.
• You can choose to render selected clips with all effects stored for specified media type or only the LUT effect.

By default, the processing is done in the NATIVE resolution of the incoming frames, but you can select CUSTOM working resolution to automatically scale incoming frames to selected WIDTH and HEIGHT, using the selected FITTING method. Process nodes can branch into multiple overlay nodes to speed up the rendering of multiple deliverables using different overlays.

OVERLAY

The overlay node is used to apply FRAME LINES and BURN IN. Both of these functions are using templates, which can be customized by clicking the EDIT button. Overlay nodes can branch into multiple encode nodes to speed up exporting of multiple deliverables using different file formats and codecs.

ENCODE

Encode node is used to specify the output file format using MEDIA FILE TEMPLATE. Click the EDIT button to create new templates. Encode nodes can branch into multiple write nodes to provide multiple file copies in a single pass.

No Encode

When you choose to disable the ENCODE node, PIPELINE will effectively process only the READ and WRITE nodes. This will be the case in a situation like demonstrated in the screenshot below, where the PROCESS node is checked. Since no transcoding will take place, it will be ignored.
WRITE node will create hard link copies of clips to be processed, based on the criteria defined in the READ node, and name the files per FILENAME TEMPLATE selected. Hard-linked files do not occupy extra disk space. If hard links are not an option, e.g., the TARGET FOLDER is located on a different volume than the QTAKE Storage folder resides, the PIPELINE will copy clips and name them per FILENAME TEMPLATE selected.

Export to Dolby Vision® HEVC

Dolby Impact is a software encoder for the international H.265(HEVC) video compression standard, designed to create streams with the highest coding efficiency. The resulting output proudly delivers superior quality and lower bitrates, with the codec aiming to optimize content for the human eye.

To ensure correct export settings, users are advised to check the following:

• Dolby Vision Profile - 5 / 8.1 / 8.4
• OVERWRITE HDR10 Data - NO / YES
• Video Codec Quality
• Video Resolution
• Include Metadata
• Color Space - Source / Project

Files generated using Dolby Impact are compatible with playback on any device or software player equipped with a standard H.265 (HEVC) decoder.

Stereoscopic 3D Export to MV-HEVC

For correct stereoscopic export, clips being exported must be tagged with left and(or) right eye. You can tag a clip in two ways:

• Before recording, you set the tag in Project Settings, under the camera model, using the STEREO 3D selector
• On an existing clip, you set the tag in the MEDIA toolbar, double arrow (»), STEREO 3D selector

The tag is also visible in the LIST’s CAM column next to the camera letter in brackets, which helps you identify a stereoscopic clip.

Initiating EXPORT TO FILE (or AUTO EXPORT) with a stereoscopic template will create a new type of EXPORT TASK, which handles 3D export. It reads buffers from the left eye and right eye clips and processes both buffers in sync to allow storing inside 3D capable media files.

CLIP SELECTION

When exporting stereoscopic clips, the exporter scans through the selected clips and checks if each of them has a 3D pair. You can select only left-eye clips, or only right-eye clips, or both. The exporter handles all these cases and informs you about the result before an export task is created.

To set up the PIPELINE, start by choosing 3D MODE in the READ node. PROCESS and OVERLAY nodes are optional, and you may set them according to your needs.

ENCODING

Define a new MEDIA FILE TEMPLATE of the ENCODE node and choose HEVC/H.265 video codec. There are three 3D modes available automatically enabled when the 3D mode is set in the READ node:

• 3D - stereoscopic
• LEFT eye
• RIGHT eye

In case ENCODE NODE has 3D MODE set to LEFT or RIGHT, the other eye will be dropped, and only the selected eye will be encoded and stored. In case you want to store both eyes, create two ENCODE and two WRITE nodes, each for one eye, where you can specify separate filenames.

WRITE

Write nodes are used to write the resulting file to TARGET STORAGE.

• INTERNAL
  Media file will be attached to the source clip with specified TARGET MEDIA TYPE and will use internal storage, just as if it was recorded or imported. It is limited to full duration because each media type for the clip should have the same duration. You can export clip as Proxy, Intermediate and Proxy Transcoded media type.
  
  Note that one media type can store only one media file. If you are exporting a clip to INTERNAL storage and the clip already has a media file of the selected type, you have to use the OVERWRITE option.
• EXTERNAL
  Used when exporting to 3rd party systems, so clips can be rendered with any duration and written to any destination using a FILENAME TEMPLATE. The filename can be customized using different metadata values as well as static text. In addition to media, you can export metadata in XML or use metadata TEMPLATE. While XML contains complete QTAKE metadata, metadata TEMPLATE export can be customized using EXPORT METADATA.

It is possible that, depending on the selected criteria, the FILENAME TEMPLATE could generate duplicate filenames for different clips. In this case, QTAKE won’t overwrite the files, but an incremented suffix will be added automatically at the end of each duplicated name.

Touchscreen UI

QTAKE is primarily designed for use with a touchscreen monitor. This provides you with a high level of interactivity, comfort, and speed. However, the software can be easily used with standard input peripherals, like a keyboard and mouse. Almost every control has its dedicated keyboard shortcut to make your work faster using the keyboard. While QTAKE allows you to customize these shortcuts this document will refer to the default values.

USER INTERFACE

The application does not use standard OS controls. We have designed custom, finger-sized controls to accommodate the touch nature of the UI as well as resolution independence.

BUTTON is a basic element of the UI. By pressing and releasing a button you activate a specific command. Some buttons have a secondary function, activated by a “long click” (hold the button pressed for 1 second). Buttons that contain secondary function are marked by a little dot in their lower right corner.

SEGMENTED BUTTON is a set of buttons used to select one out of two or more options. By selecting one segment of this button you automatically deselect a previously selected option.

INPUT FIELD is used to enter numeric or alphanumeric values for various data fields. By pressing this button you invoke the on-screen keyboard used to enter characters in the touch-screen application. Note that you can also use a physical keyboard to enter values. Some input fields act as toggle switches where each click cycles through the available options.

SLIDER is a special-purpose control used to adjust numeric values. Dragging the slider knob to the left side decrements the value. By dragging to the right side you increment the value. The filled area of the slider bar indicates where the selected value falls within the range of values. Most sliders also have an associated input field next to it that lets you enter an exact value.

Some sliders can be set into AUTO mode. In auto mode, the slider will transition between the START and END values with no interaction necessary. To enable auto mode click on the associated input field and toggle AUTO to YES. In case the SHOW KEYBOARD preference (FILE room -> OPTIONS -> double arrow (»)) is set to NO, the dot in the top left corner of associated input field will be missing and you will have to click on the input field name to be able to set AUTO mode. Alternatively, double-click the slider to start auto mode without entering the on-screen keyboard. The LOOP MODE changes how the slider moves and it can be set to LOOP (from start to end), PONG(from start to end, then back to start), and A/B (alternates between start and end values). TIME INTERVAL sets the interval between transitions.

User interface controls are disabled (greyed out) for the commands that can not be executed in the current context.

ENHANCED INPUT FIELD is used to enter numerical values. The button has three separate functions. By pressing the buttons left side (where the value is displayed) you invoke an on-screen keyboard similar to a regular input field. By long-clicking the left side of the button you reset the field to its default value. And finally, by pressing and holding the right side of the button you invoke a RADIAL SLIDER that lets you input values by moving the cursor or your finger around its center. The radial slider lets you return to the previous value by moving the cursor or your finger to its center.

LABEL is used to display various states/values of the system. By clicking on some labels you can cycle through various display options.

TOOLBAR is a set of buttons grouped to form a complex function, like PLAYBACK. Sometimes it features a double arrow (») icon to provide access to 2nd set of controls.

MENU BUTTONS are used to toggle the display of toolbars. They can be locked to disallow accidental clicks.

User interface uses 4 horizontal blocks by default, which provides good readability even on smaller MacBook Pro screens. You can resize UI to up to 7 blocks to accommodate bigger or wider screens using GUI_Screen_Blocks_Count preference.

CONTROL SURFACES

In addition to keyboard, mouse, and touchscreen control, QTAKE can also be controlled by various third-party hardware controllers. Any controller that emulates keyboard key presses will work in QTAKE. See the section called KEYBOARD SHORTCUTS for more information on assigning button functionality. Native support also exists for the following devices:

C-MOTION

QTAKE supports the use of C-Motion hand units to control 3D HIT. To connect the hand controller to QTAKE you will need a Serial to USB converter. To enable C-Motion control use the following preferences:

Serial Port 1=
Serial Port 2=
Serial Type = C-MOTION

TANGENT DEVICES - ELEMENT

QTAKE supports the element-Tk for CDL color corrections and the element-Mf for playback control, Jog, and Shuttle transport as well as 24 customizable keys (12 + 12 with the use of the A modifier key). To enable the use of either of these element control surfaces use the following preference:

Use Tangent Surface = YES

AVID ARTIST TRANSPORT

QTAKE now supports Avid Artist Transport Control Surface to improve user interface control - mainly playback control using dedicated Jog and Shuttle wheels. You can use Avid Control software to customize the functionality of this hardware controller. To enable Avid Artist Transport support, use the following preference:

Use Avid Surface = YES

JOG SHUTTLE
Many other control surfaces, panels, and keyboards will work with QTAKE using their mapping tools that simulate keystrokes.

CUSTOM UI LAYOUT

By pressing a MENU button you enable or disable the corresponding toolbar. The button will change its background color from grey to green. If you press the MENU button again you will hide its toolbar. You can arrange toolbars for each room simply by displaying them in the correct order.

Toolbars always appear from left to right. If you hide any toolbar, all other boxes are moved to fill the gap. There is an arrow on top of each Menu title that indicates if the toolbar will appear in the upper or lower zone. You can toggle the arrow direction with a long-click on the MENU button.

You can prevent Menu Boxes from accidentally hiding by pressing the LOCK button.

Each ROOM in the application can have its own layout. The orange LAYOUT button allows you to save and recall up to eight different layouts. Click the LAYOUT button to reveal the current layout and the eight slots where you can store layouts, by default named LAYOUT 1 - LAYOUT 8. The currently selected layout is highlighted in orange. The first, - (dash) layout, will become active when you modify a saved layout. To store the current layout long-click one of the slots, now you can rename your layout and save it. On the right side of the bar, you can CLEAR or RESET the currently configured layout to the default state of the current room.

Fast keyboard access to layouts
You can bind keyboard shortcuts to your layouts for quick access (default shortcuts Alt+1-8)

VISUAL KEYBOARDS

Visual keyboards are used for data input. They are displayed by pressing the data input fields. Above the input field, there is a set of keyword buttons containing commonly used values, words, or phrases. These buttons can be customized by entering the desired phrase in the input field and long-clicking on the button you wish to change. When using a physical keyboard you can disable visual keyboards by turning off the SHOW KEYBOARD setting. You still have access to keywords by right-clicking on the field you are editing.

KEYBOARD SHORTCUTS

Hotkeys (or keyboard shortcuts) in QTAKE are configurable and saved per user allowing each user to customize their work environment. Reveal hotkeys for each control element by pressing the Fn key on your keyboard. While holding this key each command TITLE is temporarily replaced by its keyboard shortcut representation.

If you click a button while holding down your Fn key a popup window will appear that lets you define a new keyboard shortcut for that button. In this window you also can CLEAR (remove any existing shortcut from that button), RESET (set default shortcut for that button) / RESET ALL (set default shortcuts for all buttons).

Keyboard shortcuts context
Keyboard shortcuts have to be unique for each button in each room because all rooms make up a single context. Exceptions are windows that appear on top of the standard UI. Windows are modal and therefore allow the hotkeys from the main context to be re-used.

SCREEN ZONES

Screen area is divided into seven zones.

1. ROOM BUTTONS ZONE
   This is the zone where you choose what part of the application (ROOM) you want to work in.

2. STATUS BAR ZONE
   System status and log messages are displayed in this zone.

3. SPECIAL BUTTONS ZONE
   This zone contains the most commonly used commands, such as toggling the display of sidebars or hiding the application.

4. UPPER TOOLBARS ZONE
   This is the zone where toolbars appear when you click MENU buttons set to top mode.

5. VIEWS ZONE
   This zone is used to display video content, as well as sidebars.

6. LOWER TOOLBARS ZONE
   This is the zone where toolbars appear when you click MENU buttons set to bottom mode.

7. MENU BUTTONS ZONE
   The green and black Menu buttons control what UI elements are displayed in each room.

UI output to Views

This feature gives you a unique set of functions, enabling you to output certain elements of UI. Elements such as Clip Browser, META sidebar, and others might ease your communication with other crew members on the set. When the director is not located near the QTAKE rig, communication can be more effective when you display the Visual Clip Browser on his monitor.

Operation

UI elements that contain the circle icon in the bottom right corner can be sent to output by displaying them in Views. The number in the circle indicates which video View is used for output. REGULAR CLICK activates the output, and the circle turns blue. Another click deactivates the output and puts back standard View PATCH. LONG-CLICK designates the active View for output and updates the number in the circle. When the window used for UI Output is closed, or you activate another window for the same View, UI output is deactivated automatically.

This feature supports the output of sub-windows originating from windows sent to Views as a UI Output. To deactivate UI Output when a sub-window has been opened, you have to do one of the following:
- click the circle button on the sub-window if available
- click the circle button on the original UI element
- send different UI element to the View.

TOP BAR

Top bar menu contains the most common commands in QTAKE.

ROOMS

The main menu of the application consists of 5 Rooms:

DELETE

The DELETE button eases the workflow when you need to quickly remove clips from QTAKE. This action cannot be undone.

The DELETE button performs the same action as the PERMANENTLY DELETE function from TRASH. When the SELECT button is active, the DELETE button removes selected clips (excluding LIVE clips) if at least one clip is selected. If you select no clip and click the DELETE, the button deletes the clip loaded in the active View. If active View is patched to LIVE, it deletes the last recorded or last loaded clip in the active View. The DELETE button also respects CLIP SYNC, meaning if CLIP SYNC is active it will delete all synced clips. There is a confirmation pop-up before the delete action.

Note that by permanently deleting media files from QTAKE you will not free up the disk space, as files are moved to macOS Bin. To free up the disk space, you have to empty Bin.

LIST TOOLBAR

At the bottom of the list, you will find buttons that provide additional functionality to the list of clips.

The FUNCTION button displays the list of options for selected clips.

FAST CLIP LIST SELECTION

Unlike previous versions of QTAKE, when the View is in DISK mode, the FUNCTION button is always enabled. When clicked and no clip is selected in the LIST table, an active clip will be automatically selected and the FUNCTION dialog will pop up.

SELECT button has a long-click mode, which will select all clips in the LIST, except LIVE ones.
When SELECT mode is active, the SEARCH field is hidden and FAST SELECTION buttons appear:
ALL CAMERAS will select all recorded and LIVE clips of all cameras with matching SCENE/SHOT/TAKE metadata.
ALL UNITS will expand ALL CAMERAS to include cameras from other units.
ALL TAKES will select ALL TAKEs matching CAMERA letter/SCENE/SHOT metadata of the selected clips.
ALL SHOTS will select all TAKEs of all SHOTs of the SCENEs metadata respecting the camera letter of the selected clips.
ALL DAY will select all clips matching SHOOT DAYs of the selected clips.

When you right-click in the LIST, it triggers the SELECT mode and automatically selects the clip in the corresponding row. A contextual menu will appear, providing access to all FUNCTION options and LIST FUNCTIONS.
If you accidentally initiated a fast selection, you can simply click the SELECT button to return to the normal mode and exit the SELECT mode. This allows you to resume your regular operations in the LIST without any unintended selections.

SHOW IN FINDER

Use this FUNCTION when you need to make a quick copy of selected clips to a 3rd party application. This is not a recommended way of exporting media files, because it doesn’t include clip metadata, but some information can be smuggled inside filenames. Since QTAKE doesn’t use human-readable filenames for its internal media, an additional step is necessary to show media files in a single Finder folder.

First, you need to select what type of media you want to reveal (Recorded, Proxy, RAW,…) and then select what FILENAME TEMPLATE should be used to generate filenames. If none of the pre-defined templates works for you, you can create your own by clicking the EDIT button.

In EDIT mode, you can define how the FILE name will look like and you can define directory structure, based on different metadata. For example, hard links to clips with a matching scene and take are stored in separate folders with a filename consisting of ” Camera Media Filename.FileID “ would be defined as in the picture above. In this example, FileID was added to create unique file names, but it can happen that based on the criteria selected, this function would create duplicated Filenames for different clips. In this case, QTAKE will give information in the main Show in Finder window and also a warning that SHOW IN FINDER will create duplicated file names if you confirm the selection by clicking on SHOW IN FINDER button. If you decide to continue anyway, an incremented suffix will be added automatically at the end of each duplicated name.

SHOW IN FINDER operates differently based on MEDIA LOCATION. For files stored internally, the Filename template will be used to create hard links to media files in a new folder. Press the SHOW IN FINDER button and QTAKE will hide and a finder window with an appropriate new folder will be displayed.

On the other hand for files stored externally finder will open selected folders to reveal the media files.

MANAGE MEDIA FILES

This function allows you to copy, move or delete local media files for selected clips. After choosing the MEDIA TYPE of the files you want manage, you have to select SOURCE storage volume and TARGET storage volume.
SOURCE table is multi-select enabled so you can select all rows except greyed-out ones, which show unmounted volumes.
On the other hand, TARGET table lets you choose only one row. Greyed-out rows don’t have enough free space to accommodate selected media files.

COPY will copy all the media files from SOURCE to TARGET.
QTAKE will look for QTAKE Pro Storage folder in the ROOT folder of selected volume, if no such folder is found, it will be created and used.

MOVE will move all the media files from SOURCE to TARGET.
QTAKE will look for QTAKE Pro Storage folder in the ROOT folder of selected volume, if no such folder is found, it will be created and used.

DELETE will delete all the media files from SOURCE.

If you select DELETE and no other copy is present on another storage volume, a warning popup will require confirmation to delete selected media files as this operation cannot be undone.

MOVE TO TRASH

This function will move clips to the trash bin by pressing the FUNCTION button and selecting MOVE TO TRASH. This will only move selected media files to the trash. You can either PUT BACK FROM TRASH or PERMANENTLY DELETE media files from the storage. This operation cannot be undone.

Note that by permanently deleting media files from QTAKE you will not free up the disk space, as files are moved to macOS Bin. To free up the disk space, you have to empty Bin.

RELINK

Relink will try to find link media files that have changed their location. You do not have to select a precise location as QTAKE will be searching also through all subfolders.

CREATE SCREENSHOTS

Use this function to generate screenshots for all selected clips using the poster frame.

CREATE THUMBNAILS

Use this function to generate thumbnails for all selected clips using the poster frame. This function will create both clean and processed thumbnails.

BINS

The BINS function will open a dialog that will show you all created bins and a number of clips inside those bins that match the current selection of clips. Here you can add selected clips to selected bins or remove them.

PDF REPORT

This function lets you create a PDF report using selected clips the same way as using PDF Report.

SEND TO SEQUENCE

Selected clips will be sent to sequence in the order they were selected and QTAKE will switch to the EDIT room.

RENDER PROXY

Use this function to render proxy media for selected clips. Project settings will be used to set up encoder resolution and quality.
QTAKE storage is limited to one media file for the selected media type per clip. If you would use this function multiple times on a clip, QTKAE will keep only the most recent one.

TRANSCODE TO PRORES

Proxy media can’t be played back with a variable frame-rate. To do so, you need to transcode it to the Apple ProRes codec.

EXPORT METADATA

This function will create an ALE or CSV export for selected clips using the selected ALE Template.

EXPORT LOOKS

Exporting color grading to 3rd party apps. You can export CDLs and LUTs used on selected clips. Optionally, CDLs can be exported as CCC.

EXPORT QTAKE XML

Export selected clips to QTAKE XML format which contains complete metadata. Media files of the selected type can be exported in addition to XML.

EXPORT TO FILE

This function is used to export clips using the Pipeline.
Click the EXPORT TO FILE button to export multiple takes to iPhone/iPod or Apple TV compatible .m4v format. If you choose to export a file to QT Movie, you can add LUT and OSD to the video frames. Press the BACKGROUND button to start the export in the background. Export to file uses IN and OUT marks to define the export range of each clip.

EDIT CLIP DATA

In case you are not using the META sidebar, you can use this function to edit multi-clip metadata values in a standalone window. Press the SELECT button to enable clip selection. Select the clip, press the FUNCTION button, and then select the EDIT CLIP DATA option.

EDITING CLIP DATA FOR MULTIPLE CLIPS

Press the SELECT button to enable clip selection. Select the takes you want to edit, then click the FUNCTION button and EDIT CLIP DATA option. A dialog similar to the EDIT CLIP DATA dialog will appear but with each element blanked out. When editing the TAKE attribute a secondary option called AUTO-INCREMENT TAKE will appear. To number your takes sequentially select YES. Note that the order you selected the files is the order they will be numbered.

RUN DOLBY VISION® ANALYSIS

On top of Live Analysis, you can perform Dolby Vision analysis for clips missing Dolby Vision metadata. The function creates a background task.

Note that GRADE and DOLBY modules are required.

OPTICAL FLOW ANALYSIS

The function triggers a background task to calculate and cache the motion vectors for all clip ranges of selected clips. You can use these vectors to get a smooth interpolated off-speed playback.
Unlike manually triggered action by clicking the Speed mode button, the function triggers a background task, which you can monitor by clicking the TASK.

DELETE OPTICAL FLOW ANALYSIS

If you need to save disk space, you can use this function to significantly reduce the disk space that clips with motion vectors calculated occupy.

MARK AS REFERENCE

Use this function to quickly mark selected clips as a reference. If selected clips contain reference clips, an additional function will be shown allowing you to unmark clips as a reference.

PUT BACK FROM TRASH

This function is available only in TRASH mode. Use it to put back clips that were accidentally moved into the trash.

PERMANENTLY DELETE

This function is available only in TRASH mode. Use it to permanently delete clips and all associated files.

You can disable individual effects or groups by clicking its APPLY button. Long-click the RESET button to reset all parameters of the effect. To remove an effect from the stack, grab its handle (the three horizontal bars on the left side of the effect heading) and drag the effect out of the sidebar, toward the Views. The handle also lets you change the order of effects in the sidebar.

All GROUPS and most CLIP FX can SAVE and LOAD PRESETS. GROUP PRESETS can be accessed by entering the GROUP and clicking the arrows (») on the top right of the title bar. The SAVE button will save all CLIP FX belonging to that GROUP into a named PRESET. The LOAD button will bring up the PRESET LIBRARY window where you can SELECT, RENAME and set a TITLE for each of your GROUP PRESETS. Clicking a PRESET will LOAD that PRESET and apply it to the GROUP. When saving changes to a PRESET you can choose to overwrite the current PRESET. Overwriting a PRESET will update all clips with that PRESET. CLIP FX PRESETS can be accessed by clicking the SAVE or LOAD button under the effects title bar. They function in the same way as GROUP PRESETS but will only save or load the parameters of a single effect.

In the CLIP FX sidebar you can apply the following effects, click on each heading to reveal the controls:

EFFECT OPACITY AND MATTE
Almost every effect has the option to apply opacity and a matte extracted via Extract Matte or Garbage Matte. This allows for a wide array of effects application for different portions of the whole clip.

INPUT FX

Input effects are used to modify the creation of the image from the source.

STILL SCALE

STILL SCALE effect is automatically displayed for imported or linked still images. It allows you to change the scaling of the image in regard to the project input size (frame).

• NONE will map the still image 1:1.
• AUTO FIT will scale the image to fit the width or height, whichever doesn’t crop the content.
• FIT WIDTH will scale the image to fit the width, regardless of the height.
• FIT HEIGHT will scale the image to fit the height, regardless of the width.

RAW SDK

For imported or linked RAW media files, QTAKE will automatically show available settings for the respective file format.

MEDIA FX

Media effects are applied only to specific media types.

Let’s say the SDI camera output contains a look-around area, where additional info is displayed around the frame. This means that the active image is scaled down and if you want to scale it up to fill out the whole frame, you should apply this DVE transformation only to the RECORDED media type. If you use CLIP FX instead of MEDIA FX for this purpose, then the same scale would be applied to imported RAW media, which is not the intention.

CLIP FX

Clip effects are applied to a clip, regardless of the media type.

BLUR/SHARPEN Category

This category of effects contains tools that handle blurring and sharpening of the image.

COLOR Category

This category contains effects used for color correction.

The most common CDL and LUT effects are available in the BASE module, but the rest of the color tools (including control of the external LUT boxes) require the GRADE module license.

Many of the advanced color effects use a curve view to allow adjustments to the effect. Adjustable points in the curve are represented by an orange circle. Drag the point to adjust its position in the curve. Add another point by clicking on the curve. To remove a point drag it outside of the curve view.

COLOR OUTPUT

The COLOR OUTPUT effect allows you to create and SAVE look-up tables (LUTs) based on color effects above it in the CLIP FX sidebar. Only color effects can be saved as LUTs, spatial effects such as DVE and VIGNETTE will not be incorporated in the LUT. Effects that are included in the LUT have blue title text. The COLOR OUTPUT effect also lets you control external LUT boxes such as the Fuji IS-mini, Teradek Colr, FSI BoxIO, AJA FS-HDR and AJA ColorBox. To control an external LUT box it needs to be connected over a local network or USB. QTAKE will automatically identify devices found via USB or Bonjour. Click the LUT DEVICE label to bring up a window listing all identified LUT boxes. If your device is not present you can add it to the list by clicking the NEW button and manually typing in the IP address. The IDENTIFY button will help you keep track of your connected devices. When enabled the selected device will output the red channel of the input image. Some LUT boxes can apply the CDL values separately from the LUT. The CDL effect will have teal-colored title text when this is the case. The QTAKE PROCESSING and DEVICE PROCESSING buttons let you choose whether QTAKE, the LUT box or both should apply color effects to the image. The LUT SIZE selection box lets you define how many “steps” there are in the 3D LUT. Values that fall between these steps will be interpolated. When using an external LUT box QTAKE will automatically set the LUT SIZE to a compatible value.

AJA COLORBOX Selecting AJA ColorBox from the list of connected devices allows you to use it as an external real-time color processor. In addition to live signal, QTAKE can use ColorBox to also process playback by instantly loading a color correction stack stored with each recorded or imported clip. With its high-quality tetrahedral interpolation, 33-point 3D LUT, and 4K resolution, AJA ColorBox is the finest external color processing device supported in QTAKE.	FSI BoxIO BoxIO is an advanced color management device designed for both color-critical post-production environments and demanding on-set color management applications. It supports both 3D and 1D LUTs for unparalleled image control. BoxIO can be used for calibration, on-set grading, and other LUT-based operations while supporting real-time LUT updates over IP, allowing for direct integration. With its high-quality tetrahedral interpolation, 33-point 3D LUT, and 4K resolution, BoxIO is well-suited for HDR workflows. To enable dual channel operation, use the IPRemoteUtility and configure the Output Mode Selection to Dual Channel.

MATTE Category

This category contains effects that handle the masking of the image area. Mattes can be used to apply effects only to certain parts of the image.

STYLIZE Category

This category contains effects that perform expressive image manipulation.

TRANSFORM Category

This category contains effects that alter the spatial representation of the image.

CLIP AND PROJECT DATA

The metadata is divided into categories called GROUPS, they can be collapsed to allow you to fit just the relevant information into a single list. When using QTAKE Server, each group has separate permissions, so the admin can control metadata access per user role.

In addition to clip metadata, the META sidebar allows you to edit project metadata using the PROJECT tab. This part contains project and crew, metadata groups.

SOURCE

The SOURCE column is used to set what source will provide value for each metadata field. If set to AUTO, the latest value will be stored, regardless of the source.

Following is the list of possible metadata sources:

• Auto
• User
• SDI Ancillary Data
• MetaCoder
• ScreenPort SDI
• Ambient Master Lockit
• Motion Control
• Motion Tracker
• Stereoscopic Rig

SPAN

Copying of metadata field values to the next take is controlled by the SPAN column. If the span is set to SHOT, the corresponding field value is copied to the next take only if the CAMERA, SCENE, and SHOT remain the same. If the span is set to SCENE, the metadata value is copied to the next take until the SCENE changes. EPISODE means the value will remain the same throughout the whole episode.

SYNC

Copying of metadata field values between cameras (Views) is controlled by the SYNC column. When set, the value from the active View is copied to all synced Views, based on the COPY LIVE METADATA option. This can be set by long clicking the REC SYNC, CLIP SYNC, or PLAY SYNC buttons in the SYNC SETUP window.

RANGES

Each clip can have multiple groups of ranges, where each group can contain a text note or a freehand drawing inserted via the QTAKE Monitor app. For example, one group can be used to select parts of the clip that represent actions, while another group can be used to set the ranges that will be used in the sequence or composite. Ranges from a single group can not overlap.

You can expand any group to show all ranges it contains. You can set the active View playhead to start at any range by clicking its row. By default, every new group contains all ranges from the previous group. You can easily remove a range by selecting a particular row and hitting the BACKSPACE keyboard key. Every group must contain at least one range. The last remaining range cannot be removed.

By default, each new range has a green checkmark at the beginning of the range row indicating that the range is included in PLAY ALL/PLAY ONE playback mode if the USE RANGE option in the SLIDER toolbar is enabled. If you want to exclude a particular range from playback, click the checkmark to uncheck the range. Every group must have at least one range checked. The last remaining range cannot be unchecked.

Ranges are not limited to a QTAKE operator. When used in combination with QTAKE Server or QTAKE Cloud, each authorized user can set their own ranges and share them at will. For example, the VFX Supervisor can use QTAKE Monitor to mark the range that needs special treatment in the post-production. The SHARE button is used to share the group with other users connected to the current QTAKE project. Use the SYNC button to apply the groups and ranges to all synced clips.

TASKS

This button will display a list of existing background tasks of the current session. Background tasks include file copy, upload, download, image processing, and media transcoding operations. You can use TASKS window to check the progress of the specific task.

On top of that, if there is a task in progress, the TASKS button will change to reflect the background task progress. There might be more than one progress line respecting different TASK types.

Additionally, you can PAUSE tasks, if they are affecting your system performance or even CANCEL tasks, if the results are no longer needed. The pause operation in TASK is performed at the frame level, which means that when you click the PAUSE button, the progress of the task will halt precisely at that frame. It remains paused until you choose to unpause it, allowing you to maintain precise control over the task’s progress.

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RENDER

Rendering is used to process the View content to a QuickTime movie file. One of the main purposes of the RENDER function is to store your VFX composite to a clip, so you can use it in the EDIT room or in a multi-layer COMPOSITE.

To enable rendering, you have to select DISK mode for the View you want to render.
To render a composite, select DISK mode for both Views - foreground and composite, and make sure to enable PLAY SYNC. Otherwise, the composite will be rendered with a static foreground.

Pressing the RENDER button (located in the upper GUI area) will open the RENDER dialog for the clip in the active View. The RENDER FORWARD option lets you set the render direction, either forward (YES) or reverse (NO).

The CHAPTER FRAMES ONLY option will render only chapter frames, allowing you to easily create stop-motion animation videos.

SELECT DATA SOURCE lets you set the View from which clip metadata for the rendered clip will be applied. It is useful if you render multiple foregrounds on a single background.

SCENE PREFIX and SCENE SUFFIX let you add a short prefix or suffix to the SCENE data of the rendered file. It can aid you in organizing rendered material.

You can also SELECT AUDIO SOURCE and SELECT TIMECODE SOURCE for the rendered clip.

Finally, select your desired RENDER CODEC and QUALITY. You can abort rendering at any time by pressing the CANCEL button in the render progress window.

NOTE
QTAKE will respect the clip speed setting for rendering.

How to watch rendered clip?
The rendered clip will not load into the View automatically. If you want to play back rendered composition, you need to load it into the View using CLIP BROWSER, POP-UP BROWSER, LIST BROWSER,
or using PREV. / NEXT buttons.

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HIDE

Allows you to minimize QTAKE without exiting the application. Note that QTAKE uses kiosk mode when active, which prevents other applications from being displayed in front of the QTAKE interface. To interact with the desktop or other apps, you need to click the HIDE.

DISABLE KIOSK MODE
In case you prefer using Cmd-Tab to switch between applications, you need to disable kiosk mode using this preference: Kiosk Mode = NO.

Video Window Mode

The HIDE button has a secondary function indicated by the dot in the bottom-right corner. By long-clicking the HIDE button, you activate the Video Window mode. This mode activates the Video Window in macOS after hiding, which stays on top of all windows. The window allows you to monitor the Views even when working in the macOS interface. The video window follows the VIEW layout of QTAKE. You can minimize the window into a separate Dock icon by clicking the YELLOW WINDOW BUTTON. To unhide, use the GREEN window button or click the QTAKE Dock icon.

MacOS setting Dock Settings -> Minimize windows into application icon overrides application-level settings. When you click the orange dot, the Video window will minimize into the QTAKE Dock icon.

HIDE indicating secondary function
HIDE in VIDEO WINDOW mode

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FULL

Toggling the FULL button (or pressing the F key) will switch your UI between a regular and a full-screen mode. This will allow you to view the image content scaled to full-screen size, by hiding the rest of the interface.

A special case is the LIST, FX, and META sidebar. Each of them can be set to remain displayed in the full-screen mode by long-clicking their respective top bar buttons. The underline will appear under the button title, indicating the full-screen mode of the sidebar.

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FILE Room

File room is used to set up the project, import or export files, and access various settings needed for your work environment.

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QTAKE Menu

The QTAKE toolbar allows you to quit QTAKE application by clicking the QUIT button (keyboard shortcut is Q). Long-click this button to change your QTAKE configuration.

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Additionally, you can lock the screen by clicking the LOCK button. Long-clicking this button brings up the AUTO-LOCK SETTINGS window where you can enable automatic screen locking after a specified amount of inactivity time. To unlock the screen you will need to enter your password.

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The menu also displays the amount of storage left on your projects media drive. Clicking the label will toggle between displaying FREE DISK SPACE TIME and FREE DISK SPACE SIZE. The time value is calculated from the average bitrate of the selected codec multiplied by the number of inputs supported by the version of QTAKE you are using. A popup will appear warning you when the free disk space is running out.

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USER Menu

Before using QTAKE you need to open your user account or create a new one. Click the OPEN button in the USER toolbar to open the window containing the list of all users and related functions. If a user is already loaded, clicking the USER NAME label (or Sh-U on the keyboard) will open a dialog, where you can edit user details.

The flip side of the USER toolbar will display your QTAKE ID (an email address you have used to create QTAKE CLOUD account) if you are logged in.

Click the NEW button in the OPEN USER window to create a new user. The same dialog will open if you click the EDIT button to modify the details of the currently loaded user.

Create New User Users are identified by a NEW USER NAME attribute, which is why each user name has to be unique. You will also need to specify a NEW USER PIN, which will be required on each user load to prevent unauthorized access to user settings or private projects. You can also enable the Biometric login feature.	Edit User User name cannot be changed, you can only create a new user. You can edit the user PIN, enable/disable Biometric login, and change the QTAKE Cloud account. Click either the user name in the USER toolbar, or click the OPEN button, select the user name from the list, and click EDIT.

Biometric Login

QTAKE Pro supports Biometric login. If your Mac or Magic Keyboard has Touch ID, you can use your fingerprint to log in to QTAKE. Touch ID has to be properly configured in macOS settings. You can enable the Biometric login when creating a new user, or you can choose to do so later in the EDIT user window.

QTAKE Cloud Login

The same user dialog is used to log into QTAKE Cloud, which is required for CLOUD STREAM and QTAKE Rental Shop access. Click the LOG IN button to open the QTAKE CLOUD LOGIN dialog.

After entering your EMAIL and PASSWORD, you will be prompted to enter VERIFICATION CODE in case your QTAKE Cloud Account is protected with Two-factor Authentication.

SAML Integration

QTAKE Pro includes support for single sign-on via the SAML protocol, allowing productions to create QTAKE Cloud accounts for QTAKE Pro operators from their central account management system. This removes the need for manual account registration and activation, while simultaneously giving productions more control over the accounts used to access confidential content. To participate in the program, administrators should create a support ticket. Because QTAKE Cloud is part of the Okta Integration Network, productions using Okta can benefit from a more streamlined setup process.

User Data

Interface layouts, user options, and keyboard shortcuts are stored as user data when you close the application. This allows each user to have QTAKE customized to his preference.

After deleting a USER, every PRIVATE project created by that user is deleted, including project media files!

Auto-load

By default, QTAKE automatically loads the most recently used project when starting the application. To disable this behavior, set the following preference: Autoload Project = NO

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PROJECT Menu

The OPEN button in the PROJECT toolbar opens a list of available projects. Clicking the PROJECT TITLE label (or Sh-P on the keyboard) lets you edit the settings of the active project.

On the right side of the OPEN PROJECT window there are buttons to create a NEW project, DELETE and DUPLICATE selected project, EDIT button to edit an active project, a button to UPLOAD selected project to a QTAKE Server and a button to OPEN selected project.

Deleting a project will also delete all associated media files!

Duplicating a project will copy all project settings to a new project. This allows you to create template projects that can speed up your workflow.

The segmented button at the bottom of the window controls the contents of the list. LOCAL displays projects that exist on your machine. REMOTE displays projects that are available to DOWNLOAD from QTAKE Server. SERVERS will automatically list any QTAKE Servers that are found on the local network. To connect to a QTAKE Server that is not listed, click the ADD button to enter the IP address or a domain name.

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CREATE NEW PROJECT

The project window is used to set the most common properties of the project.

TITLE

Each project is identified by its PROJECT TITLE, which has to be unique. Toggling the PRIVATE button to YES will limit access to the project to the user that created it.

If you need to change the project name for PDF reports, change the value of the PROJECT NAME metadata field in the META sidebar.

STORAGE

Storage volume is selected using the PROJECT STORAGE field. Changing CUSTOM PROXY STORAGE to YES lets you set the PROXY MEDIA STORAGE independently from the main project storage. See STORAGE STRUCTURE for more info.

MEDIA

The DOWNLOAD REMOTE PRORES input field controls when QTAKE will download recorded media from QTAKE Server. DOWNLOAD REMOTE PROXY controls the same for proxy media.

SLATING

Use the SLATING SYSTEM field to select US or UK slating. Additionally, you can specify SCENE SHOT DIVIDER when using there is a need to separate scene and shot names.

UNIT

The UNIT input field is used to set which film unit the QTAKE system is used on, to identify clips in the multi-unit environment. There are four pre-defined choices, but you can easily add additional ones using the META sidebar.

• MAIN UNIT
• SECOND UNIT
• SPLINTER UNIT
• VFX UNIT

COLOR

If you are grading using the ACES color system, set the WORKING COLOR SPACE input field to the desired option. This will also enable the ACES SETTINGS effect in the INPUT FX. Additionally, you should set the output transform using ACES ODT.

Click here to learn more about ACES.

HDR

If your project requires color grading in High Dynamic Range, first choose HDR mode:

• HDR 10
• Dolby Vision® 2.9
• Dolby Vision® 4.0

HDR 10

Use the following parameters to set your color space and monitor luminance range for MASTERING and TARGET monitor type:

PRIMARIES dropdown provides the following options:

• Rec.709
• Rec.2020
• P3

Set WHITE POINT to one of the following values:

• D55
• D60
• D65
• DCI

Dolby Vision® 2.9

Use pre-defined sets of Luminance, Primaries, White point options for MASTERING and TARGET monitor type.

Dolby Vision® 4.0

You can choose from pre-defined sets, as are available for Dolby Vision 2.9, or set primaries and Luminance range manually by switching the CUSTOM dropdown to YES.

You can find more information on how to set up a Dolby Vision project in this section.

ThunderFace 4K Duo and QOD+ supports HDR output for HDR Monitors. To enable the HDR output, the correct COLOR SPACE needs to be selected ON INPUT in VIDEO PROJECT SETTINGS. If the CLIP contains HDR COLOR SPACE, QTAKE will detect it and automatically output it via the ThunderFace or QOD.

Changing HDR mode to Dolby Vision®

When a project is already created, and you switch the HDR mode between Dolby Vision versions on the fly, you will be prompted with a pop-up window after confirming Project settings by clicking the OK button. The window informs you how many clips already have been analyzed and how many tasks are queued related to the HDR mode change. You have three options on how to proceed:

• Invalidate: Deletes stored analysis data for all clips and cancels any related tasks.
• Re-Run Analysis: Performs the same actions as the INVALIDATE option. Additionally, it creates new tasks to replace deleted analyses for all clips and new tasks to replace the canceled ones to match the Dolby Vision version.
• Cancel: Cancels the HDR mode change.

INPUT DEVICES

The segmented INPUT button lets you configure your capture A/V DEVICE as well as other settings for each input. INPUT SOURCE can be set to the following types:

• SDI - video cards from AJA, BMD, or Deltacast, the most advanced option
• NDI® - IP video standard by NewTek™, requires STREAM Module license
• CUBE - Wi-Fi transmitter by Teradek, requires STREAM Module license
• QTAKE - live stream from QTAKE apps, ScreenPort SDI or a MetaCoder device
• SYSTEM - any AV device recognized by macOS, usually offering resolution and FPS selection
• SCREEN - used to capture the contents of the main system screen.

Most of the following settings can be controlled only in case of an SDI input.

If you are using a separate video card for each input you will need to set the following preference:
Two Boards For Dual IO = YES

VIDEO AND AUDIO SETTINGS

After selecting the correct VIDEO INPUT and AUDIO INPUT, you can use DETECT button to set the format based on the input signal. Set AUTOMATIC CHANGE to YES to have QTAKE automatically reconfigure your video card based on the input signal format.

Some video cards will limit the formats that can be selected for different inputs of the same card.

The COLOR CODING selector lets you switch between YUV and RGB to match your input format. The VIDEO DELAY field will make video input delayed by a specified number of frames.

TIMECODE and TIMECODE TYPE let you select the timecode input:

• NO TC “ - “ -> QTAKE will ignore any input TC and will display NO TC information in TC section of Play toolbar.
• SDI -> SDI input TC will be used for live and recorded clips.
• LTC -> QTAKE will use TC contained in the LTC signal from an external device connected to the LTC IN connector on supported video cards for live and recorded clips. The same TC can be used for all video inputs.
• AUDIO -> This option can be used if the TC is contained on the audio track of the selected AUDIO INPUT device. The audio channel containing TC has to be specified in the TC CHANNEL dropdown located next to AUDIO INPUT.

If your input signal does not contain a timecode you can use wireless timecode from Timecode Buddy by setting TC BUDDY to YES. QTAKE will automatically find any Timecode Buddy devices on the same network.

Note that if NO TC is selected, NO TC will be displayed on live input, but on recorded clip, MacOS system time at the time of recording will be recorded as TC.

GENLOCK is used to set the clock mode of your SDI outputs. FREE RUN will use internal timing, REF IN will sync outputs to an external reference signal, and VIDEO IN will use the video input signal to drive the output clock. Set the FRAME SYNC to YES if you want QTAKE to match the timing of all inputs.

MONO AUDIO SUPPORT

QTAKE supports multi-channel audio input. Supported channels are 1CH, 2CH, 4CH, 6CH, 8CH, 16CH. In case 1CH is selected, QTAKE will duplicate the 1st Channel to the 2nd Channel resulting in a STEREO audio. This is convenient if you have single audio input and you would like to hear it in both ears.

CAMERA AND MEDIA SETTINGS

The right side of the project window lets you set your CAMERA MODEL, CAMERA LETTER, and the recording CODEC for your media files. STEREO 3D, MULTI VIEW, and VR 360 fields are used to identify the type of content in the current input. You should also specify the COLOR SPACE of your input signal using pre-defined values (ACESproxy, Alexa LogC, Rec.601, Rec.709, Rec.2020, Rec.2020 PQ, Rec.2020 HLG, P3 D65 PQ) or set the AUTO COLOR SPACE option to YES.

Codec selection contains the PASSTHROUGH option, which can be used when recording a stream from ScreenPort SDI or another QTAKE app, to store video track in the native codec of the stream.

If the selected camera supports embedded metadata in the SDI feed you can set QTAKE to READ SDI DATA and also choose to name your media links by QTAKE or CAMERA MEDIA FILENAME. For further information see CLIP NAMING CONVENTION. If you are using a METACODER device to preserve the metadata in the wireless SDI signal, set this option to Video or Audio, depending on the selected mode inside the MetaCoder device.

Enabling REVERSE PULLDOWN will only record unique (non-duplicated) frames from the camera output to match the frames recorded by the camera, either in standard camera frame rate or in vari-speed and speed-ramp modes, up to the frame rate of the signal format.

For example, if the camera is recording 40fps into 24fps project, you should set the CAMERA TIMEBASE to 24 and use the 3G-SDI signal from the camera output (that allows the transfer of 60 frames per second). QTAKE will record 40 unique frames from the 60Hz signal and it will stretch the audio to match the slow-motion video. Playback from QTAKE will look the same as if you were playing back from the camera.

If you need to up-convert or down-convert live or playback signal, set the SECONDARY VIDEO FORMAT and select which outputs should use it. If these settings are greyed-out, it means they are not available on your video cards.

CANVAS SETTINGS

The canvas represents the working area of a QTAKE View. If you need to add more space to the existing View or crop it, change the canvas size. The reason for this might be the resolution of a monitoring device. In earlier QTAKE versions, the canvas size was equal to the size of the input source. Starting with QTAKE Pro 2.2, you can choose between three available canvas size modes.

INPUT
This mode automatically adapts the canvas size based on the input format. It stands out as one of the most dynamically responsive modes, as the input signal may undergo frequent changes. This isn’t limited to merely switching input formats, as seen with wireless transmitters, but also extends to simple View patching between LIVE and DISK. Notably, in the event of Constant Playout Mode = YES being set to YES, the canvas size adjusts even during the playback of a single clip while the input undergoes background changes.

CLIP
In this mode, the canvas size adjusts based on the loaded clip resolution. When switched to LIVE, it aligns with the resolution of the LIVE clip, which is equivalent to the input resolution. However, upon patching the View to DISK, the canvas retains its size, respecting the clip resolution, irrespective of changes in the input format.

CUSTOM
The custom canvas size in this mode remains static, manually set to any resolution up to 4K. In this scenario, the input or loaded clip is scaled to fit this custom size and is positioned at the center, both vertically and horizontally. Notably, it remains unaffected by changes in LIVE input or clip loaded.

PROXY SETTINGS

RECORD PROXY enables QTAKE to record a secondary, highly compressed file, along with your regularly recorded media. Hard-link to this proxy file will be placed in a subfolder of your project folder called /Media/Proxy. Use of the QTAKE Server provides access to recorded clips using QTAKE Monitor app.

Top controls in this section allow you to set the CODEC (H.264 or HEVC), BIT DEPTH (8-bit or 10-bit for HEVC), and HARDWARE acceleration. The bottom row provides settings of the RESOLUTION and QUALITY of these files.

HEVC codec (also known as H.265) produces the same quality output using the same bitrate as H.264 codec, however, it is much more demanding in terms of processing power.

Due to the low performance of the software HEVC encoder, it is not supported for streaming and proxy media. QTAKE will automatically switch to hardware-accelerated HEVC if available.

The source image for the proxy encoder is the content of the View. This means that the proxy recording will “burn in” any applied effect or LUT into the recorded media file, so you should take care not to change the settings while recording.

The same encoded frames used for storing proxy media files are used for QTAKE Stream. If you need different settings for proxy media, use the auto-export feature.

To disable OSD burn-in on the proxies set the following preference:
Proxy OSD = NO

COMMON PROJECT SETTINGS

The COPY TO ALL button allows you to copy the settings of the current input to all remaining inputs.

The SAVE button will save the current project setup as the default. The default setup will be used as a starting point when creating a NEW project - unless the project was created by duplicating another project.

If you have multiple audio devices connected you can choose what output device QTAKE will use when in LIVE or DISK mode with the LIVE AUDIO OUTPUT DEVICE and DISK AUDIO OUTPUT DEVICE buttons.

3D SBS MUXED INPUT

The MUXER module enables muxed 3D capture. QTAKE uses dual or quad-channel video cards to provide side-by-side capture of 2 SDI inputs. Select SDI Muxed SBS video input to enable this recording mode.

1. Feed L camera to SDI1 In, R camera to SDI2 In.
2. Select SDI Muxed SBS video input in the PROJECT Window.

3. Set GPU-OUT to View 1, GPU-OUT2 to View 2.

4. Output Side-by-Side or REMUX to Line-by-Line.

5. You can DEMUX to Left only or Right only.

6. Use 3D (L) and 3D (R) output modes to preview a single camera on a 3D monitor.
7. MUXER can be applied to the S1 and S2 modes of QUAD SPLIT.
8. Independent AXIAL (Convergence) and FLIP/FLIP settings for each 3D rig.

DUAL 3D STEREO CAPTURE
Muxed capture mode enables the recording of two 3D rigs using a single QTAKE HDx4 system.

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STORAGE STRUCTURE

This section provides insight into how QTAKE stores recorded and imported media files, thumbnails, and other internal files.

QTAKE Pro Storage Folder

Since version 1.5 QTAKE uses new file storage based on unique filenames, compatible with QTAKE Server. The main purpose of this system is to provide the most robust way of linking a database to files, especially in the new, distributed environment, where files can be accessed by the asynchronous upload or download process.

The main file storage folder is called “QTAKE Pro Storage” and it resides in the root of the volume selected in the PROJECT STORAGE field. You should never touch the contents of this folder to avoid breaking the database links or QTAKE Server synchronization.

QTAKE Pro Projects Folder

In addition to the main file storage folder, there is additional “QTAKE Pro Projects” folder that contains folders such as FINDER, EXPORT, or SCREENSHOTS, which serves as an output location for specific FUNCTIONs.

Additionally, QTAKE will automatically create hard links with human-readable filenames to media files inside the MEDIA folder, for compatibility purposes. 3rd party tools that need automatic access to QTAKE media files can use these hard links.

The following filename scheme is used for hard links: [SCENE_SHOT_TAKE_CAMERA] SOURCE-CLIP-INPUT

Automatic hard links inside the QTAKE Pro Projects folder will not have their filenames updated after the clip metadata change.

Copy clips to 3rd party apps

In case you need to copy QTAKE media files to external storage using the current metadata values, you should use the SHOW IN FINDER function. Typical use is copying media files for the editor or director.

Spanning multiple volumes

In case your file storage gets full, you can simply attach new storage to your system and select a new volume using the PROJECT STORAGE field. The old volume will still be used to access old files.

Never try to move or delete files inside QTAKE Pro Storage manually. If you need to free up drive space, delete clips inside the QTAKE app and empty TRASH in the LIST. Afterward, go to macOS Bin and delete media files from the macOS Bin as well.

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UPLOAD TO QTAKE SERVER

When you click the UPLOAD button in the OPEN PROJECT window, you will be presented with the following dialog prompting you to select destination QTAKE Server. Usually, this will be the instance of the server running on your local machine.

After clicking OK, your project upload will have to be approved by the administrator of the selected QTAKE Server instance.

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DOWNLOAD FROM QTAKE SERVER

Sometimes, you will not be the one who is creating the QTAKE project. The most common scenario is the 2nd unit QTAKE system, which is deployed after the shooting has already started. In this case, you should use the REMOTE tab of the OPEN PROJECT window to select an existing project residing on the server and click the DOWNLOAD button to download the project to your QTAKE.

If you don’t see a specific project listed in the table, ask the QTAKE Server administrator to send you the project link. Double-clicking the link will add this project to the list of remote projects and allow you to download it.

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EDIT PROJECT

Use the EDIT button to adjust any settings to the project. Note that changing the format will have an impact on sequences. The new sequence is derived from the current project settings.

Clicking the PROJECT STORAGE input field will let you choose a new storage volume for your project. QTAKE will record subsequent media to the project folder on your newly selected volume. Disconnecting your old storage volume will cause any media residing on that volume to be marked as offline (purple outline) in the browser.

Project folder also serves as storage for QTAKE outputs such as PDF reports, clip reports, etc. Exact location is
/Volumes/YOUR PROJECT STORAGE VOLUME/QTAKE Pro Projects/QTAKE User name/YOUR PROJECT TITLE/

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OPEN LINK

QTAKE supports QTAKE, QTAKE Server, and QTAKE Monitor invitation links for local network and Cloud operation. If you do not see the desired project in the Project list or you do not see the stream in OPEN PROJECT -> INPUT SOURCE -> STREAM, you can request an invitation link from the QTAKE operator. Afterward, you can either click on the link or you can copy the link and paste it into OPEN PROJECT -> SERVERS tab -> OPEN LINK.

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CAMERA METADATA COMPARISON TABLE

This is a comparison table detailing what embedded metadata QTAKE can read from various cameras.

	RED	ALEXA	SONY	CANON
TIMECODE	YES	YES	YES	YES
RECORD START/STOP	YES	YES	YES	YES
FILE NAME	YES	YES*	YES*	YES*
INDEX	YES	YES*	YES*	YES*
ROLL	YES	YES*	YES*	YES*
SHUTTER	-	YES*	-	-
FPS	-	-	YES*	-
LENS DATA	-	YES*	YES*	-

* Blackmagic Design video cards will only receive SDI metadata when QTAKE is set to 10-bit capture mode.

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FULL RANGE VIDEO

SDI video usually contains image data encoded in YCbCr color space. QTAKE converts the image into RGB color space to perform GPU-based processing. Standard YCbCr conversion uses SMPTE levels, which means that the legal range YCbCr will be converted to full range RGB. However, some cameras use full-range YCbCr to store the higher luminance range. QTAKE supports conversion to RGB using full range YCbCr to avoid clipping of super-blacks and super-whites. This is controlled using the following preference:

Full Range Video = NO

When using FULL RANGE VIDEO preference, your video card output and QOD+ will be automatically set to match the input, but if you are using 3rd party GPU to SDI converters, you may need to set the correct video range using the following preference:

Legal Range GPU Output = NO

Full-range video processing is slower. Use it only in case your signal source requires the processing of super-black and super-white pixel values.

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INFO Menu

This toolbar is used to check the license information of the system, send the logs to the support department and set the preferences that control the operation of the software.

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LICENSE

You can view your application license information by clicking the LICENSE button in the INFO toolbar. See the Licensing section to learn more about the QTAKE Pro licensing system.

To review the end-user license agreement click the SHOW EULA button inside the QTAKE MODULE LICENS INFO window. If you have no license available, you can use the GO TO SHOP button, which will take you directly to the rental configuration page.

To create a QTAKE Rental Shop account and order rentals you can visit QTAKE Rental Shop directly at: https://shop.qtakehd.com

For instructions on how to use the shop, see: https://shop.qtakehd.com/instructions

WARNING
Tampering with the macOS system Date and Time settings during a rental period may cause the QTAKE Licensing system to reject the license. Consequences may be as fatal as a License system lockdown on the machine, meaning even a valid license would be unusable. Clean macOS re-install might be required.

ACTIVATE LICENSE

To activate or deactivate a license created in the QTAKE Rental Shop, click the ACTIVATE button in the QTAKE MODULE LICENSE INFO window. This will display the list of licenses available to you. License colored GREEN are available for activation, those colored BLUE are activated on your computer and GRAY ones are activated on another computer.

If you don’t see your license in the list even after clicking the UPDATE button, make sure your QTAKE ID was selected when creating the license and that the license didn’t expire.

EMERGENCY LICENSE FILE

In case the online license activation service is not reachable, you will need to request license activation by email. Click the COMPUTER ID in the License window to open a dialog with the option to COPY ID or EMAIL ID to license@in2core.com and provide additional info on which modules you need to get activated. After you receive a response email with the temporary license file, double-click the attachment with .qtakelic extension to open the QTAKE Pro app and load the license.

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SEND REPORT

The SEND REPORT button allows you to conveniently send your settings, QTAKE preferences, and logs to IN2CORE for detailed problem analysis. You can also enter the specific details and problem description in the window field.

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OPTIONS Menu

You can use the following user OPTIONS in the QTAKE application - settings are stored for the current USER.

POST-REC ACTION
Select what action should be performed after recording a clip. LOAD will load the recorded clip into the View. PLAY will initiate the playback.

KEEP DISK ON REC
Turn this option on to disable the automatic patch to LIVE when recording starts.

AUTO PLAY-SYNC
Turn on to automatically enable the PLAY SYNC button for synced recordings.

AUTO OFFSET
Turn on to automatically set the PLAY SYNC offset when two clips are recorded simultaneously or when recording a composite.

REC ERROR STOP
Turn it on to automatically stop recording when the input signal is lost. If this option is turned off, QTAKE will duplicate the last frame in case of a dropout.

CHAPTER SOUND
This is used to enable audio beep on chapter marks. Useful as audible signals for action on VFX shots.

FORCE SYNC 3D
Enable accurate display sync of both Views. You need genlocked cameras to make this work correctly in LIVE.

DEMUX GUI
This option demuxes SBS images in the user interface.

SHOW KEYBOARD
Turn it on to enable a touchscreen visual keyboard for each data entry.

TRACKPAD JOG
Hold the Fn key and drag your finger across the touchpad to jog through the clip.

RESET PLAYHEAD
Resets the playhead position on clip LOAD ONLY or LOAD+PATCH.

PLAYHEAD RANGE
Moves the playhead to the first or last range IN point when the clip is loaded or patched to, based on the RESET PLAYHEAD option.

PIXEL VALUES
Turn on to display AXIAL, GRID, and DVE MOVE values in pixels instead of percentages.

RENDER OSD
Turn on to burn in OSD information when rendering a clip.

COMP FPS LOCK
Turn it on when using video card output for the composite. This will ensure composite rendering will use the frame rate of the video card.

FULL RANGE GUI
This option will perform full to legal range conversion of the Views in the GUI (the option is enabled when the Full Range Video = YES).

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VIEW Menu

Views are the heart of QTAKE Advanced Digital Video Assist. They use GPU power to perform real-time image processing of video frames. Think of the Views as internal video monitors that can display any video source. Set the source for each View in the PATCH toolbar. Every command is performed on a selected/active View. The active View is marked by a white border.

ACTIVE VIEW SELECTOR

Select active View by pressing the corresponding segment in VIEW toolbar, or by clicking any View in the Views Zone directly. Keyboard shortcuts 1, 2, 3 and 4.

MULTI-VIEW MODE

You can use Views in either single or multi-view mode, by clicking the corresponding button or by double-clicking the View. Long-click the multi-view button to switch between DUAL and QUAD modes. The keyboard shortcut is D.

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VIEW ORIENTATION

When shooting in portrait mode (camera rotates 90 degrees), or upside-down, you can rotate the active View to match the camera orientation. To do this, you need to set the ORIENTATION field to APPLY and select the correct video content orientation inside the MEDIA Toolbar using

ACES ODT

This button is used to select the output color transform when using ACES.

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GPU OUT Menu

One of the main QTAKE features is the ability to process live video feed. This allows the system to apply color correction to live video or to output live chroma key compositing with a live or pre-recorded background.

To achieve low latency processed live monitoring, QTAKE uses a video card for input and a graphics card for output. However, graphics card usually provides HDMI or DisplayPort outputs that support only limited cable length (up to 10m). To provide professional video output from your GPU, you need to convert the output signal to SDI. There are many HDMI or DisplayPort to SDI converters, but only ThunderFace 4K Duo and QOD+ (QTAKE Output Device) are natively supported to provide up to 4 / 8 independent SDI outputs with embedded audio, frame-rate control, and precise color conversion.

See QTAKE ThunderFace USB CONTROL for more information.
See QTAKE QOD USB CONTROL for more information.

Since macOS Night Shift and True Tone features affect GPU output, these are automatically disabled on startup if ThunderFace or QOD are connected to prevent color differences.

Each View can be monitored in fullscreen mode using the secondary outputs of your graphics card. These outputs are used to enable monitoring for the Clients or the Director.

You can set each GPU OUT to a different LAYOUT MODE.

• AUTO Output layout follows the operator screen
• SINGLE Outputs the selected View in fullscreen
• DUAL Outputs two Views on a single output
• TRIPLE Outputs three Views
• QUAD Outputs four Views
• 3D Outputs stereoscopic output
• OCTA Outputs eight Views
• 3x3 Outputs 3x3 Views grid

When you set the layout mode to output multiple Views (DUAL, TRIPLE, …) you can set the content of each section independently. The BORDER value determines how much space is added between the Views. In the TRIPLE or QUAD View, you have the option of setting the ASYMMETRIC layout mode. One View occupies majority of the screen space, allowing you to focus on a single View while still displaying the other Views.

When GPU OUT is set to 3D layout you can also set the 3D OUTPUT MODE to match the 3D input format that your monitor expects. SINGLE EYE OUTPUT enables viewing of a single eye on a 3D monitor.

Along the bottom of the window are options for QOD+ output. See QTAKE Output Device for more information.

3D Stereoscopic video output
3D Output can be used with 3D monitors that support side-by-side, line-by-line or DLP mesh input. QTAKE will make sure both video channels (left and right eye) are in sync in LIVE, RECORD, or PLAYBACK mode. Use RECORD SYNC for recording and PLAY SYNC for playback. Enable CLIP SYNC for synchronized browsing of left and right eye clips.

If you need to render out combined 3D frame, you need to use STEREO toolbar in COMPOSITE Room, instead of 3D video output.

ORIENTATION
Allows you to maximize the screen space available to display video by rotating the sections 90 degrees clockwise, counterclockwise, or 180 degrees. This requires you to also mount the output monitor accordingly. In case orientation is set, the GPU OUT toolbar will have the letter “R” next to the respective output number.

FULL AREA MODE

FULL AREA selector determines the layout distribution of the Views. By default, the selector is set to NO distributing the Views from the center of the screen. If you set it to YES, Views will be distributed to cover the whole screen, which may create gaps between the Views. The effects of this selector are most apparent when changing orientation to 90 degrees or using the ANAMORPHIC option.

SAVE BUTTON

The button allows you to save the current GPU OUT configuration as the default setting. Once saved, this configuration becomes the preset for all new projects, eliminating the need to manually configure GPU OUT settings each time.

This function streamlines your workflow by automatically loading your preferred GPU OUT configuration whenever you initiate a new project, ensuring efficiency and consistency.

HDR MODE

To read more about QTAKE Pro SDI HDR output, refer to SDI HDR section.

• HDR10 - The default HDR mode.
• Dolby Vision® Meta - Adds Dolby Vision metadata with SDI signal that can be read by compatible devices (e.g. eCMU, another QTAKE system).
• Dolby Vision® iCMU - Applies iCMU for SDI output. This mode does not require an HDR monitor.

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IMPORT Menu

This toolbar groups import functions of QTAKE. Import is used to load external assets into QTAKE system or to transfer project from another QTAKE system.

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IMPORT

The IMPORT button is used to import QuickTime movie files into QTAKE. Import will create a copy of selected file and store it in the project media folder. When importing multiple clips QTAKE will first add entries into the database and then copy the media files. If you shut down QTAKE while the media is being copied QTAKE will resume the copy operation when started. For best results, use movies that have the same resolution and timebase as your QTAKE project.

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LINK

The LINK button is used for the same purpose as Import, but linking does not create a copy of the selected files in your media folder. This makes linking much faster than importing. The downside is that the media resides in its original location and you can easily lose the link to these clips if you disconnect the drive or move the media.

DRAG AND DROP IMPORT AND LINK

Both LINK and IMPORT can be performed by hiding QTAKE and dragging the files onto the QTAKE dock icon. In addition to QuickTime movies, you can import still images, audio files, and CDL color corrections. When dragging a media file to the QTAKE dock icon the DRAG AND DROP window will appear, letting you set options such as FILENAME PARSING, STILL IMAGE SCALING, STILL IMAGE DURATION. Importing a still image can be useful for reference frames, logos, or background images for VFX shots.

DISK SELECTION

QTAKE can mark imported files with a specific CAMERA LETTER by clicking SELECT DISK and specifying the desired DISK in the DISK LETTER input box. Selecting AUTOMATIC will assign a disk letter according to the filename parsing method.

FILENAME PARSING

When using drag-and-drop import QTAKE can extract metadata from the filename of the imported material but you have to select the correct parsing filter.

Some external recorders can read Camera Media Filename and rename files accordingly. When importing files that are named by camera filename use the appropriate camera import filter even if they were recorded on one of the devices in the list.

NONE The NONE filter will mark the imported clips as belonging to a scene called Import.

QTAKE The QTAKE filter uses the native QTAKE naming convention. Files will be organized in the same way as they were created. Scene_Shot_Take-Sbtk_CamReel_(Rt)_IDx.mov

RED The RED filter will import media with RED filenames to a scene called RED (magazine number), The Camera position will be used as shot and clip number as take. CamReel_[CLR]Clip_MMDDXX.mov

ALEXA The Alexa filter will import Alexa files to a scene called Alexa (reel number). CamReelCClip_DDMMYY_CamID.mov

KIPRO The Ki Pro filter will use Scene and Take numbers as entered. SCSceneTKTake.mov

PIX The PIX 220 or 240 needs to be set to Reel_Scene_Take naming. QTAKE will then use those values. Reel_Scene_Take.mov

ATOMOS The Atomos filter uses Scene, Shot, and Take numbers. UnitName_SceneNum_ShotNum_TakeNum.mov

CANON Use this parsing template to extract information from Canon media files.

SONY Use this parsing template to extract information from Sony media files.

STEREO 3D

When importing stereoscopic footage, recorded as muxed side by side, set the segmented button to SIDE BY SIDE. Non-muxed footage can be imported as FAKE SIDE BY SIDE. This can be useful when using 2D footage as a background plate for a stereoscopic chroma key.

MULTIVIEW

When importing quad split footage, set this field to QUAD to enable related functionality.

VR 360

When importing virtual reality 360 footage, tag it using EQUIRECTANGULAR or CUBEMAP options to enable correct interpretation by QTAKE.

ORIENTATION

When importing footage captured in portrait mode or upside-down, set this field to 90 CW, 90 CCW, or 180 value.

STILL IMAGES

QTAKE can import various still image formats. On import, the image is converted to a QuickTime movie. Adjust the duration of this movie by entering the desired number of seconds in the STILL DURATION input field. To adjust the scaling of the imported image in relation to the View use the STILL IMAGE SCALING segmented button. QTAKE will preserve the transparency of imported images.

USE FILE META

Set this option to YES to extract metadata from the imported file and insert it into the QTAKE database.

ATTACH TO EXISTING CLIPS

Set this field to YES when importing new media for existing clips. Read more about this in the MATCHER section.

OVERRIDE FILE DATE

When importing new media for existing clips, it is important to use correct data to make matching successful. If CMF is not present in the existing clips, CAMERA, TIMECODE, and DATE information is used instead. QTAKE is using file date if it can’t find embedded metadata inside imported media. However, the file date can be misleading, because usually it is set to the time of transcoding and not the time of recording. Using the OVERRIDE FILE DATE field you can set the correct date of the imported file.

IMPORT CDL

Dragging to the QTAKE Dock Icon can be used to import CDL color correction settings in XML format. QTAKE supports both single corrections (.CDL) and color correction collections (.CCC). Imported CDL color corrections will be placed into the COLOR CORRECTION LIBRARY. This library can be accessed from the CDL - IMPORT CDL section of the CLIP FX sidebar.

IMPORT LUT

To import a LUT place it in the /Luts subfolder of the application directory and restart QTAKE.

IMPORT XML METADATA

You can import clip XML files. Use drag and drop onto the QTAKE dock icon. This will import the clip and all of its metadata.

IMPORT ALE

The most common file format used to transfer metadata between 3rd party applications is the AVID Log Exchange. After dragging the ALE file to the QTAKE dock icon, rows will be first matched to existing clips in QTAKE to have the metadata associated with the correct clips. In the next step, you will have the possibility to map ALE columns to QTAKE metadata fields. Each mapping can be stored as a template and reused when the same type of ALE file is imported.

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IMPORT/LINK FROM QTAKE

Import/Link from QTAKE is used to import clips and associated metadata that were exported using EXPORT QTAKE XML. This is useful when you need to transfer clips and data from one QTAKE system to another. Select the storage volume by pressing the IMPORT STORAGE field. Then select the project and the session to IMPORT or LINK clips and metadata. If you select the IMPORT option, clips will be copied to your local project storage.

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EXPORT Menu

EXPORT toolbar allows you to export your project to FINAL CUT PRO XML, or another QTAKE system. Also, you can export project metadata to AVID ALE or CSV file, or export individual sequences as EDL files.

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EXPORT TO FCP

QTAKE can export the current project to Final Cut Pro 7 or Final Cut Pro X.

The exported XML file is located in your project folder (/Volumes/YOUR PROJECT STORAGE VOLUME/QTAKE Pro Projects/QTAKE_User_Name/YOUR_PROJECT_TITLE/Export FCP(X)/). The XML can then be imported into FCP(X).

Final Cut Pro 7

Bins are created for each scene/shot/take to help you navigate through the footage. All clips are linked to QTAKE media files. Select the Filename Template for the FCP XML export. To make it easier to reconnect to the original footage, you can define the filename template with CAMERA MEDIA FILENAME. Metadata is exported with each clip and mapped into FCP data fields that can be accessed in the Bin. Any sequences created in the EDIT room will also be exported.

Final Cut Pro X

To help you organize the material each clip is exported with all the metadata entered into QTAKE including chapters, notes, and multiple IN/OUT points. Once imported into Final Cut the clips can be sorted and grouped by Scene/Shot/Take or original filenames. Select the Filename Template for the FCP XML export. To make it easier to reconnect to the original footage, you can define the filename template with CAMERA MEDIA FILENAME. The metadata that Final Cut supports is mapped into the corresponding fields within the application.

Other metadata, including custom fields, can be accessed from the QTAKE Metadata View in Final Cut. Any sequences created in the EDIT room will also be exported.

Select ALL clips or the range of clips you want to export based on the combination of DATE, ROLL, EPISODE, SCENE, SHOOT DAY, or CLIP ID ranges. You can further filter your selection based on CAMERA and RATING and clip origin (IMPORTED, LINKED, RENDERED).

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EXPORT METADATA

Exporting metadata from QTAKE to AVID Media Composer or any other software that supports the Avid Log Exchange or CSV format is carried out using the EXPORT METADATA window.

From here, you can choose METADATA TEMPLATE or edit an existing one.

QTAKE will use project-based preferred MEDIA TYPE if set to AUTO, but you can also specify it manually. If the selected media type doesn’t exist for exported clips, it will fall back to other available types based on the FALLBACK option.

Choose the Filename Template for clips to be exported or edit an existing one.

Select ALL clips or the range of clips you want to export based on the combination of DATE, ROLL, SCENE, SHOOT DAY, or CLIP ID ranges. You can further filter your selection based on CAMERA, RATING, and clip origin (IMPORTED, LINKED, RENDERED).

Use METADATA TEMPLATE to specify which fields should be exported and under which COLUMN names.
For ALE EXPORT, you can additionally override the number of AUDIO TRACKS if your media audio doesn’t match the audio layout used in AVID.
For CSV EXPORT, you can choose the delimiter type and date format.

METADATA EXPORT TEMPLATE

This edit window provides pre-defined templates for Avid ALE export and DaVinci Resolve CSV metadata export. These templates cannot be edited or deleted. You can duplicate them, or you can start editing them, but you will be asked if you want to save changes as a new template or disregard changes.

The Heading selector switches between the ALE and ”-“ heading types and determines the Avid ALE or CSV format of the metadata file.

The exported ALE file will contain metadata fields selected in the template with the possibility to set the custom name for each field.

The exported ALE will contain the values of the first CDL correction applied to each clip.

ALE export does not support sequences. Use EDL export for that purpose.

When exporting metadata in a CSV file, you can choose the TAB or COMMA delimiter type based on the type used in the destination application.

Suggested workflow with DaVinci Resolve

• Record clips using Auto recording based on Record Flag
• Import camera-recorded clips from the camera magazine to DaVinci Resolve
• Export metadata from QTAKE using EXPORT METADATA, use DaVinci Resolve CSV template or custom one, having Filename Template naming clips based on the CMF
• Import QTAKE CSV export file to DaVinci Resolve and match based on Reel Name or other preferred options

When exporting metadata to DaVinci Resolve, it is recommended to have the Filename Template produce only CMF as a filename.
Note that by checking multiple Import Options in the DaVinci Resolve Metadata Import window, you need to meet ALL matching criteria for successful matching.

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EXPORT EDL

Exports the current Sequence to CMX3600 Edit Decision List. You can choose between QTAKE MEDIA filenames or CAMERA MEDIA filenames. Exported EDL will be saved to your project folder /EDL subfolder.

The exported EDL will contain the values of the first CDL correction applied to each clip in the sequence.

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EXPORT QTAKE XML

This function will let you export clips and meta-data to another QTAKE system (such as the 2nd unit).

Select EXPORT STORAGE (usually external drive volume) and choose if you want to COPY MEDIA or DATA ONLY. The second one is used to export data to some Asset Management Systems or some other forms of the production database.

Select ALL clips or range of clips you want to export based on the combination of DATE, ROLL, EPISODE, SCENE, SHOOT DAY, or CLIP ID ranges. You can further filter your selection based on CAMERA and RATING and clip origin (IMPORTED, LINKED, RENDERED).

QTAKE will generate an XML file with all meta-data for selected clips. After the XML file is generated, the process of copying media will start in the background, this enables you to continue to work while the media transfer is in progress. Since the format is standard XML it can easily be parsed by third-party applications such as Colorfront On-Set Dailies.

The copy process uses your media drive, so you may not have sufficient speed for recording if your raid is not fast enough to handle both tasks at the same time.

Developers who are interested in learning more about the XML structure can request a copy of the specification at office@in2core.com.

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AUTO EXPORT

Automatic export uses SMART BIN and PIPELINE to output files without your interaction. As soon as the new clip appears in the system that matches the set of rules, it is exported using the specified processing template.

Click the NEW button to create a new automatic export session. A new row will appear in the table where you can set the following columns:

• ACTIVE button activates or deactivates each export session.
• VOLUME field overrides the export volume set in the write nodes.
• BIN selects BIN or SMART BIN that contains clips to be exported.
• PIPELINE field is used to select PIPELINE to be used for export.
• STATUS will show any errors that may arise during the export process.

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REPORT Menu

This toolbar contains commands for generating PDF reports and screenshots.

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PDF REPORT

QTAKE can generate custom PDF reports with thumbnails and metadata for each clip. You can specify the range of clips and filter clip selection by various attributes. PDF files are saved to a subfolder of your project folder called /Reports. PDF Reports are generated based on a template. You can create new templates by clicking the EDIT TEMPLATE button. This provides custom reports for different departments.

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EDIT TEMPLATES

QTAKE comes with two pre-made PDF Report templates. Project Report and Camera Report. To create a new PDF report template first select the report you would like to base your new report on and click DUPLICATE.

The left half of the template editor control what metadata fields are included and the sorting order of the clips in the report. Use the segmented button to choose whether the fields should be added to the page header or the individual clip entries in the report. To add a field select it from the Available Fields list and use the arrow button (>) to add it. When the report is in Flow Layout both the Page Header and the clip entries have a heading and a data section. These are separated by a horizontal line in the Included Fields list.

Drag the field to move it between the data section and the heading. Each field in the Included Fields list also has a drop-down menu to define its relation to the next field. The options are No Space, Slash, Space and New Line.

Fields added to the Page Header will show up in the gray section of the preview. The Page Header will be repeated at the top of each page in the report. The header would normally be populated with fields from the Project Data group but you can optionally add fields from other groups. If fields with multiple values are added the header will show all values separated by commas.

The Sort Order tab lets you control the sorting of clips and the page breaks of the report. Clips in the report are sorted, in order from top to bottom, by the fields in the Included Fields list. There is a horizontal bar dividing the Included Fields list into two sections just like in the Clip and Page Header. Fields added above this line will cause the report to be divided into sections separated by page breaks based on their values.

REPORT LAYOUT

The right half of the template editor contains a preview of the report and controls for the page layout of the report. A segmented button near the top lets you choose between a Flow Layout and a Table Layout for the report. Click TEMPLATE and select the Camera Report for an example of a report in the table layout. You can add the name of the template and the date when the report was generated to the report header by setting Show template title in page header and Show date in page header to YES. Setting Full header on the first page only to YES will remove fields below the horizontal line in the Page Header tab on all pages of the report except for the first.

The bottom row of controls allows you to change the layout of the clip entries. Setting Begin each group on a new line to NO allows for a more compact layout by putting the metadata groups closer together. Use fixed field positions and sizes will make sure the fields stay in the same place in each clip entry by adjusting the size of the field in the report to accommodate the clip with the largest amount of characters in that field. Use full-width clip headers will adjust the thumbnail to allow more information in the header. Skip empty fields will remove fields without data from the report. You can also adjust the thumbnail position and row decoration for the clips.

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SCREENSHOT

Use the SCREENSHOT button in REPORT toolbar to store the current frame of the active View to a jpeg file. Screenshots are saved to the current Project folder into the /Screenshots subfolder using clip filename and timecode. When PLUS 3D is enabled the screenshot will depict the PLUS 3D View. Long-click this button to generate screenshots for all Views.

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CLIP REPORT

The CLIP REPORT button in the REPORT toolbar creates a PDF file with screenshots and metadata for the clips loaded into all Views. Clip reports are saved to the /Dual Screenshots subfolder of the current Project folder.

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LINK Menu

The link feature is used to control two or more QTAKE systems.

Follow these steps to start a network job:

1. Make sure every machine is on the network.
2. Run QTAKE on all machines you wish to link, open user, and project.
3. Press the MASTER button on the master machine (displays “Master Active” in Connection Status).
4. Press the SLAVE button on the slave machine (“SLAVE #: OFF”, where #is the number of the slave - in order of connection).
5. To activate the SLAVE press the NUMBER button on the master machine (turns green) - now the slave can accept commands.
6. Repeat steps 4,5 for each slave.

You can activate/deactivate slave machines by clicking their number buttons on the master QTAKE.

The following functionality is supported through the LINK:

• Select ROOM (File room or Shoot room, Edit and Composite are disabled on slaves when active)
• Entering CLIP DATA (scene, shot, take, rating) that is common to every camera
• RECORD, RECORD SYNC, RECORD ABORT
• All PLAYBACK commands
• Selecting ACTIVE View, DUAL View
• BROWSE CLIP (based on clip data, so make sure you don’t have two clips with the same data)

How it works?
Master machine is advertising its presence on the network using the MASTER button. The Slave machine uses the SLAVE button to find the master on a local network and makes a connection. The master confirms the connection and activates the slave. You can control up to 8 slave systems. If you choose HDx1 to be master, then you can control only HDx1 slaves. QTAKE LITE can only control a single slave unit.

BROWSE CLIP in the LIST works based on EPISODE, SCENE, SHOT, TAKE metadata. These metadata values have to be unique so the BROWSE CLIP could work as expected. In case there are multiple clips with matching EPISODE, SCENE, SHOT TAKE metadata values ( including empty values ), it is not possible to determine which clip was selected on the MASTER side, so SLAVE will select the first clip with matching EPISODE, SCENE, SHOT, TAKE.

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GPI Menu

General Purpose Interface is used for simple communication with external devices. Most commonly this is used with Motion Control Rigs. QTAKE uses Softron GPI Commander 2 & 3 to receive and send GPI signals via USB. By short-clicking the GPI INPUT or GPI OUTPUT button, you can enable or disable GPI input or output.

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GPI INPUT

GPI input is used to execute a selected command when the corresponding trigger is received. You can enable this functionality globally by clicking the GPI INPUT button. Long-clicking this button will open the GPI INPUT SETUP window.

For each input command, you need to create a new row by clicking the NEW button. ACTIVE option lets you enable or disable each row. GPI INPUT is used to select what input is triggering the selected command. COMMAND field provides the following choices:

RECORD - Starts or stops recording
ADD FRAME - Adds one frame when using Frame Recording
ADD CHAPTER - Adds a chapter marker
PLAY - Starts or stops playback
INC FRAME - Moves playhead one frame forward
DEC FRAME - Moves playhead one frame backwards
STUDIO CUT TO - Performs cut to selected input during live cut
SET IN MARK - Sets an IN point
SET OUT MARK - Sets an OUT point

Each command can be further controlled by selecting MODE option:

START - Start the selected command on received pulse
STOP - Stop the selected command on received pulse
TOGGLE - Changes the state of the command on received pulse
HOLD - Starts the command while the GPI is active, stops when the GPI becomes inactive

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GPI OUTPUT

GPI output is used to send the trigger when the selected command is executed. You can enable this functionality globally by clicking the GPI OUTPUT button. Long-clicking this button will open the GPI OUTPUT SETUP window.

For each output command, you need to create a new row by clicking the NEW button. ACTIVE option lets you enable or disable each row. GPI OUTPUT is used to select what output is being triggered by the selected command. COMMAND field provides the following choices:

RECORD - Trigger on record
PLAY - Trigger on playback
CHAPTER - Trigger on chapter marker

Each command can be further controlled by selecting MODE option:

START - Triggers pulse on start of the command
STOP - Triggers pulse on stop of the command
TOGGLE - Triggers pulse on change of state of command
HOLD - Starts the command while the GPI is active, stops when the GPI becomes inactive

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VIDEOHUB Menu

The VIDEOHUB toolbar enables direct control of Blackmagic Design Videohub and AJA Kumo SDI routers from QTAKE. Up to 64 inputs and 64 outputs are supported.

Pressing a GROUP button in the left segmented button will show the 10 PRESETS in that GROUP on the right. Press SETUP to configure your routing, groups, and presets. See the PRESETS AND GROUPS section below.

VIDEOHUB SETUP

Set the correct VIDEOHUB IP address and PORT number in the appropriate input fields. You can alternatively press the LOCATE button to list any video routers on the local network. Routing is performed by clicking the output node and then selecting the input. Linking two inputs/outputs is done by long-clicking the button associated with the input/output and then selecting another input/output to link. Linked inputs/outputs are routed together. The PREP and EXEC buttons let you first PREPare multiple routes and later EXECute the actual routing all at once. Press the RESET PREP button to revert any changes made during PREP. The segmented button in the top left corner of the VIDEOHUB SETUP window lets you change between editing LABELS and TAGS. When set to LABELS you can customize the labels for inputs and outputs to help you organize your videohub routing. Pressing TAGS lets you assign what inputs and outputs are connected to your video card. Tagging the videohub inputs and outputs like this is necessary to use the LIVE PASS functionality.

LIVE PASS

QTAKE can perform context-aware videohub routing to bypass the video card for selected outputs when a View is patched to LIVE. You can avoid videohub manual re-routing when you need a low-latency camera feed during recording and video card output during playback.

PREPARE LIVE PASS

First, you need to prepare the LIVE PASS functionality. Click the TAGS button in the top left corner of the VIDEOHUB SETUP window. Select the correct tag for each videohub connector that is connected to your video card(s). For videohub inputs connected to video card outputs select the V-OUT tag with the corresponding output number. For videohub outputs connected to video card inputs select the V-IN tag with the correct input number. You only need to do this once if you did not change your internal cabling.

USE LIVE PASS

You can assign what outputs should bypass the video card by enabling the LIVE PASS button next to the TAG. The ENABLE LIVE PASS button lets you enable or disable the LIVE PASS behavior globally. Outputs that have the LIVE PASS button enabled will show two routes. One green and one orange, representing the DISK route and the LIVE route. The non-dotted line indicates the output current routing.

LIVE PASS MODE

A particularly challenging situation on a film set is the loss of signal. In addition to the apparent issues, this situation can be more perplexing when using LIVE PASS, as it results in a black output. To mitigate confusion and aid in identifying the root cause, QTAKE offers two LIVE PASS MODES.

• Any Input - In this default mode, LIVE PASS stays active regardless of the present signal, providing a continuous low-latency output. However, it’s important to note that the output will appear black when no signal is detected.
• Active Signal Input - On the other hand, in ACTIVE SIGNAL INPUT mode, LIVE PASS remains active only when a signal is present. If there is a loss of signal situation, Videohub automatically switches the routing to processed V-OUT, generating the NO VIDEO DETECTED screen. This mode helps streamline troubleshooting by promptly indicating signal loss.

PRESETS AND OVERLAPPING GROUPS

The current routing can be saved into a PRESET. Long-click one of the PRESET buttons to save the current routing. Load a PRESET by clicking on the associated button. When loaded, you can change the PRESET NAME.

Along the bottom of the window are six GROUP buttons. Each GROUP can have a set of Videohub outputs assigned and can save up to 10 PRESETS. Starting from QTAKE Pro 2.3 presets in each group now apply to all outputs.

To assign Videohub outputs to a specific GROUP, select the desired GROUP and press the Group Button next to the LOCK button. The Group Button displays the corresponding group letters (A - E) to which the output is assigned rather than the full group name. To rename the default group name, select the group at the bottom of the window and click the Group Name input field.

To assign all videohub outputs to a group with a single click, select a group other than GLOBAL and press the ASSIGN ALL TO GROUP button. Clicking the button again will undo the assignment.

GLOBAL is the default Group. The name cannot be custom-edited, nor can it be involved in the overlapping grouping.

DEFAULT PORT NUMBERS
AJA Kumo default port: 80
BMD videohub default port: 9990

The LOCK button will lock output to an input. While locked the route is not available for routing.

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STREAM Menu

Using the STREAM toolbar, you can enable video streaming and remote control of QTAKE using a custom UDP protocol based on XML. The STREAM button also enables bonjour network advertising, allowing devices to discover and connect to a computer running QTAKE.

You can use the QTAKE Monitor or the QTAKE 3D Control apps to connect to QTAKE stream.

QTAKE Monitor allows you to use an iOS device, Apple TV, or a Mac as your wireless monitor. See QTAKE Monitor for more information about the app.

QTAKE 3D Control app is used to control post-convergence (HIT), and PLUS 3D View. See Appendix A - QTAKE 3D Control for more information.

STREAM CLIENTS COLOR CODING

The STREAM toolbar displays clients marked with distinct colors, reflecting their status:

• Grey: Inactive connection, client requires approval.
• Green: Active connection, client has been approved.
• Light Green: Active and approved connection with TALKBACK established.
• Magenta: Active QTAKE Cloud Stream, client has been approved.
• Red: Error, QTAKE Monitor using an older version not supporting Forensic watermark, for instance.

UNLIMITED STREAMING

Unlike previous versions of QTAKE, where streaming was limited to 16 clients, there is no such limit with QTAKE Pro. The sixteen numbered buttons (1-8 on the first page and 9-16 on the second page) in the STREAM toolbar allow you to grant or deny access to any of the first 16 connecting devices, long-click the STREAM button to access other connected clients. You can also enable TALKBACK from a single QTAKE Monitor or QTAKE Cloud client by long clicking its button. Long-click the STREAM button to open the STREAM SETUP window.

You can control the name of the machine running QTAKE as it appears in the apps by going to System Preferences - Sharing and changing the Computer Name field.

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ADD CLIENT

QTAKE allows you to add devices directly from QTAKE by using the ADD button. There are multiple ways to connect a device running QTAKE Monitor, another QTAKE system, or Moxion.

CONNECT USING QR CODE

This method of connecting to QTAKE Stream is used for local network clients. The client should tap the Scan Project Link under Projects in QTAKE Monitor and point the device’s camera at the QR code generated by QTAKE.

CONNECT USING LINK

Use the COPY LINK button to copy a connection link and paste it to email iMessage, or other means of sharing. The client should open the link on the device running QTAKE Monitor.

CONNECT USING INVITE

The best way to connect remote clients to QTAKE Cloud Stream is using an email invitation. Enter your email address into the SEARCH EMAIL ADDRESS field. While typing, the list will show you search results. If the client was already invited, you will see his email in the list and you can invite him or her again. If the email is new, the field title will change to NEW EMAIL ADDRESS.

Use the CLIENT TYPE field to specify which platform is the client using to receive the stream:

• QTAKE Monitor - this is the most common option, it works both for streaming to QTAKE Monitor or a web browser
• QTAKE - use this option to send the stream to other QTAKE system, such as when streaming between two units
• MOXION - select this option if your client is using the Moxion platform to receive QTAKE Cloud Stream

Click the INVITE button to add a new email to the list. Invited clients can be banned using the BAN button – in case you want to stop them from receiving the stream. FULL NAME and PROFESSION fields are used to enter additional details about each client.

Inviting multiple clients
You can copy multiple email addresses and paste them into the SEARCH EMAIL ADDRESS field. The INVITE button will display the number of valid emails parsed.

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LOCAL STREAM

For streaming, QTAKE employs proprietary QLS (QTAKE Live Stream) protocol. QLS uses encoder parameters selected in the PROXY SETTINGS. To activate streaming, enable the STREAM button located in the STREAM toolbar. You can enable and disable streams for a specific client by entering the STREAM SETUP window.

Starting with QTAKE Pro 2.2, for a client to connect to the local stream, the client has to select TAP TO CONNECT on the Open Project page of the QTAKE Monitor app. Alternatively, the client can use the Scan Project Link button to scan the QR code. Both of these actions will establish a secure local connection to QTAKE, adding it to QTAKE Monitor’s Servers page (the third tab in this dialog window).

The same principles apply when streaming from one QTAKE to another. To enable this, the receiving QTAKE must select the stream as an input in the Project settings and ensure it is connected to the sender QTAKE. You can establish this connection via the SERVERS tab within the OPEN PROJECT window. Note that if the recipient QTAKE is not connected, the sender QTAKE server will be displayed in purple.

To establish a connection, select the sender QTAKE in the table and click CONNECT, similar to the process in QTAKE Monitor.

PROXY ENCODER
Note that QTAKE uses the same encoded frames for streaming and recording proxy clips, to use the CPU processing power most efficiently. In case you want to generate higher-quality proxy files, use AUTOMATED PIPELINE EXPORT.

WI-FI NETWORK
For the best streaming results, use high-quality, high-throughput professional access points from Ruckus or Ubiquity Networks when creating your streaming Wi-Fi network.

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CLOUD STREAM

In addition to local network streaming, QTAKE provides streaming to clients outside of the local network, using an internet connection. This is called CLOUD STREAM, because QTAKE Cloud is used to connect QTAKE with remote clients. To initiate cloud streaming, QTAKE, and QTAKE Monitor users have to be logged in to QTAKE Cloud, and the CLOUD STREAM option has to be enabled in the STREAM SETUP window. Active clients connected over the internet will be indicated by magenta color.

QTAKE CREDITS

Cloud streaming from QTAKE or QTAKE Monitor is consuming QTAKE CREDITS. One credit equals 1 GB of streaming data. Similar to QTAKE modules licensing, flexible data options are available through the QTAKE Rental Shop. Just click BUY CREDITS in the main menu of the online shop and purchase the required amount of credits.

CLOUD STREAM STATISTICS

The Stream toolbar will display the following information under the CLOUD STREAM label. Clicking this label will cycle through four modes.

• CLOUD STREAM CLIENTS - number of QTAKE Cloud Stream clients connected to this system
• CLOUD STREAM DATA USAGE - current cloud data usage of all connected systems using an active account
• CLOUD DATA REMAINING - remaining cloud data under active account
• CLOUD TIME REMAINING - remaining cloud stream time based on current cloud data usage

STREAMING FROM QTAKE TO QTAKE

Sometimes streaming between multiple units is required. In this case, one QTAKE system is sending the stream while the other QTAKE system is receiving it. Similar to QTAKE Monitor, QTAKE Video Assist takes advantage of the sophisticated stream-receiving engine, which provides smooth results even with suboptimal network conditions. QTAKE stream receiving is controlled via Input Stream Mode preference. It can be set to the following values:

• Low Latency - there is no buffering in place, each frame is displayed as soon as it arrives
• Dynamic Delay - automatically buffers an optimal number of packets to compensate for network latency
• Static Delay - uses a buffer of the static size to compensate for network latency

If you want to monitor the current delay value, use the STREAM DELAY field in the OSD.

WEB STREAM

QTAKE Cloud update released in July 2021 deploys a new web browser version of the QTAKE Cloud Stream to deliver a first-class streaming experience to any device with WebRTC support. Web-based stream from QTAKE Cloud features the same ultra-low latency, multi-camera support, and frame-based metadata known from the QTAKE Monitor app.

MOXION STREAM

QTAKE Cloud Stream is available directly in the Moxion web interface as a LIVE clip. If your clients are using the Moxion platform, all you need to do is to invite them using their email. See more info in the ADD CLIENT section.

STREAM ENCRYPTION

When streaming to QTAKE Monitor only, QTAKE Cloud Stream uses end-to-end encryption, which guarantees that QTAKE Cloud is unable to decrypt your streams. The web browser version of QTAKE Cloud Stream does not currently offer support for end-to-end encryption. After approving a web browser client, QTAKE will share the encryption key with QTAKE Cloud and standard in-transit encryption will be used to protect your streams on the network.

In case end-to-end encryption is more important than multi-platform support, set the Require Cloud Stream End-to-End Encryption preference to YES.

STREAM LIVE ONLY

In its regular mode, QTAKE is streaming the contents of the View, whether it is live or playback. However, sometimes, there is a requirement to stream live inputs, regardless of QTAKE playback, editing, or compositing.

To activate LIVE ONLY streaming mode, set the Proxy Processed Image preference to NO. The STREAM button will change its caption to STREAM LIVE ONLY. To enable the streaming, click the button.

This feature is also affecting proxy media recording. When turned off, proxy media will be generated without image processing, such as color correction or image transformation.

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STREAM SETUP

Long-click the STREAM button from the STREAM toolbar to open the STREAM Setup window. This window lists all clients running QTAKE Monitor or QTAKE 3D Control. You can APPROVE clients, enable/disable any STREAM VIEW, grant permission to take SCREENSHOT, turn on the WATERMARK, enable TALKBACK, activate MUTE LIVE, MUTE ALL and enable CLOUD STREAM for each client individually. REMOTE CONTROL enables the sidebar in QTAKE Monitor, while INPUT and DELAY fields are used to control the iPhone motion tracking system for VR VIEW. The setup window also allows you to set an easy-to-remember CLIENT TITLE for each connected client and manually FORGET devices that are no longer wanted to free up slots in the list.

To efficiently control a large amount of stream clients, you can specify GROUP for each of them. This will allow you to control all members of the group by making changes to any of them.

Stream can be enabled by default on each startup by using the preference:
Autostart Stream = YES

You can enable talkback to a specific client by entering secondary client options (click the double arrow (»)) and activate the TALK BACK button. Or enable it directly from the STREAM toolbar by long-clicking a specific connected device.

ASSIGN 3D HIT VIEW
Selects what View or Views the QTAKE 3D Control application will control.

STREAM APPROVAL

QTAKE has streaming controls on multiple levels. ENABLE button will switch the streaming engine on or off globally for both local and cloud stream, without affecting the individual settings of each streaming client. The APPROVE button is available for each client device separately to control local network streaming. For streaming over the internet, additional approval via the CLOUD STREAM button is required.

AUTO APPROVE

Individual streaming approval is normally required for each connected client. However, there are some projects, where content security is not required or it is relying on local network access. In such a case you can turn on AUTO APPROVE option to automatically approve each client as they connect to QTAKE.

STREAM VIEW CONTROL

Each View in QTAKE can stream its content based on global control via STREAM VIEW options in the bottom row of the Stream Setup window. The number of Stream View Control selectors is dependent on the QTAKE Pro HDx version. Available options are:

• - - the View is not being streamed
• View - the content of the View is being streamed
• Plus 3D - the content of the Plus 3D View is being streamed based on the settings in the 3D View toolbar

Additionally, there are separate controls in each client row to switch individual streams on or off.

This feature requires the Muxer license module.

GROUP CONTROL

When streaming to multiple clients, controlling each connected device individually would be practically impossible. Instead, you can assign one of the predefined groups to specific client devices using the GROUP selector. This way, modifying the settings of any client device will apply the same to all devices within the group. The only exception is the APPROVE button, which requires a long-click to be applied to a whole group.

STREAM MODE

In most cases, RELAY mode should be used for streaming, which saves your upload bandwidth. Conversely, DIRECT Stream Mode will attempt to connect QTAKE system directly to the client. If successful, it will show the client button using blue color. This mode is not consuming credits, but some network routers will not allow this connection to be established. If it is not possible to use a direct connection, RELAY mode will be used instead.

Connecting multiple clients using DIRECT mode will require upload bandwidth which is equal to the sum of all streams, unlike RELAY mode, which is using a single stream upload and uses QTAKE Cloud to distribute streams to multiple clients.

LIVE AUDIO

To preserve the privacy of the on-set audio between takes, LIVE AUDIO can be set to REC ONLY for selected stream clients. This will cause live audio to be muted whenever QTAKE is not recording. If you want a client to receive live audio at all times, set this option to ALWAYS.

Enable live audio control using the following preference:
Stream Live Audio Control = YES

REMOTE CONTROL

In case you want to control QTAKE using an iOS device or another Mac, you can use QTAKE Monitor sidebar called REMOTE. This sidebar provides basic functions, such as switching between live and disk modes, recording and playback commands. Additionally, there is a SEND DEVICE ORIENTATION button, which is used with VR VIEW effect in QTAKE as an affordable motion tracking system. QTAKE Monitor will use the orientation sensors of your iOS device to track the rotation of the device and send this data over the network in real-time to position a virtual camera in QTAKE.

NETWORK SETTINGS

When working in a location with limited internet bandwidth, you can use network bonding as a solution. Bonding multiple slow connections can create one fast connection, sufficient to handle the bitrate of your outgoing streams. But instead of getting a dedicated bonding router and paying extra for this service, you can now use built-in network bonding in QTAKE, which is included in the price of the Cloud Stream. Just connect all available network devices that provide internet connection (LTE USB sticks, LTE router, Wi-Fi hotspot, etc.) to your Mac and open the NETWORK SETTINGS window.

It will list all your network interfaces and show the following information for each of them:

• BOND - shows if the device is included in the bond
• DISTRIBUTION - the percentage of overall data sent through
• HARDWARE PORT - connection type
• STATUS - internet availability
• MAX SPEED - upload bandwidth determined by a speed test
• CURRENT SPEED - the current rate of data sent
• RESEND RATE - the current rate of packet loss correction
• DEVICE - identifier of the device
• IP ADDRESS - IP address of the device
• MAC ADDRESS - MAC address of the device

Toggle the BOND column to include or exclude each interface from the bonding connection. Click the TEST SPEED button to check the speed of all interfaces. You can set BONDING MODE to the following modes:

• EQUAL - bonding rate will be equally divided between interfaces
• MANUAL - you can set the rate for each interface manually
• AUTOMATIC - rate will be determined by the speed test

CLOUD STREAM BITRATE

The most important requirement for cloud stream is a stable internet connection with the required upload speed. CLOUD STREAM MBPS label will show you the maximum bitrate for the last two minutes and the bitrate of the current second in megabits per second. If this is more than your internet upload bandwidth, lower the resolution or the quality of your stream. See more in the Proxy Settings section.

WATERMARK

Long click the WATERMARK button to configure the Copyright and User Name watermark text, position, and size.

FORENSIC WATERMARK

The forensic watermark utilizes NexGuard QuickMark forensic watermarking by NAGRA and is also known as an “invisible” watermark. It is a pivotal security feature that adds an imperceptible yet robust identifier to your QTAKE assets.

Fine-tuned to be imperceptible for the best user experience, the forensic watermark is robust enough to withstand manipulation in case of a leak. Forensic watermarking seamlessly integrates with your workflows, providing an additional protection layer for your pre-release content in QTAKE during its creation.

QTAKE Monitor version 4.6.0 and FORENSIC license module are required.
If you enable the Forensic watermark for a client without the module or the client uses an earlier QTAKE Monitor version, the specific stream will be disabled until the FORENSIC license is activated or the option is disabled.

Monitoring & tracking

The Cloud-based NAGRA NexGuard Detection Service is responsible for content leak detection. This service aids in identifying and tracking leaked content, supporting the blind detection of forensic watermarks without reference to the original content. Fast, highly scalable, and fully automated, the NAGRA NexGuard Detection Service meets the needs for occasional file detections as well as continuous live detection in tandem with anti-piracy services.

Operation

To enable the feature, open the STREAM setup. You can enable the option for a specific client or group of clients. Ensure that the global WATERMARK button is enabled, and click the double arrow (») to display secondary client options. From the WATERMARK dropdown select Forensic or Both if you want to combine Forensic and Visible watermarks in the stream.

When the Forensic watermark is enabled and active, a small lock icon will appear in the top right corner of the client-side View. This icon serves as an indicator that the Forensic watermark feature is actively applied to the content.

FORCE TALKBACK

Normally, the Talkback feature requires the director to turn on TALK button in the QTAKE Monitor app or QTAKE Cloud web interface to establish communication with a QTAKE operator. If you want to avoid this requirement, turn on FORCE TALKBACK option, which will automatically enable talkback from the director.

CLEAR HISTORY

QTAKE stores the settings of each streaming client device, so each time client reconnects, the same parameters will be applied, including approval. If you want to start fresh with all streaming clients, click the CLEAR HISTORY button to reset all settings for all clients that were connected to the current QTAKE project.

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MONITOR Menu

The MONITOR toolbar allows you to remotely control some settings of the QTAKE Monitor app, such as ACTIVE VIEW, MULTI-VIEW, or FULL SCREEN.

• ACTIVE VIEW picker dynamically displays the number of Views that the client app is set to. QTAKE Monitor supports up to nine Views.
• VIEW SELECTOR controls how many Views are displayed in the QTAKE Monitor main layout.
  • DISABLED - when you disable the selector, QTAKE Monitor displays only the active view.
  • ENABLED - when you enable the selector, you can switch between three states by a long-click.
    • DUAL displays the active view and the one following it.
    • QUAD displays four Views starting with the active view.
    • ALL displays all Views QTAKE Monitor is set to.
• FULL SCREEN activates QTAKE Monitor full screen mode.
• Turning on the LOCK SCREEN option will prevent accidental inputs from the QTAKE Monitor user.
• SELECTED QTAKE MONITOR picker designates the client app you control.
• USE TALKBACK DEVICE automatically selects a client that is designated for TALKBACK. If there is no client designated for the TALKBACK, the toolbar will be greyed out until a client is designated for TALKBACK or this option is disabled.

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TALKBACK Menu

QTAKE supports bi-directional TALKBACK to and from QTAKE Monitor and QTAKE Cloud. The TALKBACK toolbar lets you select a TALKBACK OUTPUT device and a TALKBACK INPUT device to use with the TALKBACK feature. The output and input devices cannot be set to the same device that is set as your LIVE OUTPUT AUDIO DEVICE, DISK OUTPUT AUDIO DEVICE, or AUDIO INPUT respectively. See the PROJECT Menu section for more information on audio output and input devices.

The segmented button lets you select the source of TALKBACK OUTPUT on the QTAKE operator side between TALK for talkback only, MAIN for live and playback audio only, and a MIX between the two. TALK LEVEL and MAIN LEVEL let you set the volume of the two sources. MUTE allows you to mute all audio output from the TALKBACK AUDIO DEVICE. The second page of the TALKBACK toolbar lets you select a TALKBACK INPUT device and set the INPUT LEVEL.

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SCOPES Menu

The SCOPES toolbar lets you analyze video signal with the help of real-time Waveform, Vectorscope, Histogram, Focus Peaking, or False Color tools. Analysis can be done on live feed or playback footage with a full frame-rate response. The SCOPE button is used to turn on selected MODE for the active View. If the OUT button is turned off, scopes will be visible only in QTAKE user interface. The analysis is by default performed after any image processing effects are applied. The SOURCE button allows you to analyze the clean video. Additionally, you can enable or disable HDR Mode. Using the PLACE button you can position scopes and the OPACITY field lets you adjust how transparent is the scope image.

WAVEFORM

Waveform mode is a versatile tool used to analyze video levels. Each column of the source image is represented by the column of the waveform image. The value of each pixel is represented by the row of the waveform image. Dark pixels will show at the bottom and bright ones will occupy the top of the scope’s image. The following options are available:

• Luma
• Chroma
• YCbCr Parade
• Red
• Green
• Blue
• RGB Overlay
• RGB Parade

VECTORSCOPE

Vectorscope mode puts each pixel into a circle, where the distance from the center represents saturation and the angle represents hue. ZOOM value is available to scale up the vectorscope image.

HISTOGRAM

Histogram mode accumulates pixels to reveal the distribution of values. The following options are available:

• Red
• Green
• Blue
• RGB Overlay
• RGB Parade

FALSE COLOR

False color mode helps you identify underexposed and overexposed areas as well as helps the camera man correctly light and expose skin tones. You can customize the values for the UNDER, MID LOW, MID HIGH, and OVER zones individually.

FALSE COLOR LOG

The False Color Log mode is specifically designed for the ARRI LogC4 (Alexa 35 camera) color space. Unlike the standard False Color mode, where ranges are set manually, Log utilizes ARRI-specific ranges for all ISO (Exposure Index) settings. This mode allows you to observe false color exposure analysis in the View, mirroring the functionality of the ARRI Alexa 35 viewfinder.

For consistent results comparable to those provided by the ARRI camera, set the clip color space to ARRI LogC4 and check if the ISO matches the camera settings. When you enable READ SDI DATA in the project settings, these settings are configured automatically. This step is crucial to ensure alignment with the ARRI camera’s exposure analysis when using False Color Log mode.

FOCUS PEAKING

Focus peaking is used to detect and emphasize sharp edges in the image. This helps identify areas in or out of focus. The scope’s image can be superimposed on the original color or monochromatic image using the COLOR field.

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TF & QOD Menu

QTAKE can change settings and control the ThunderFace and QOD+ via the USB connection. Settings can be changed from the TF & QOD toolbar in the FILE room.

See respective User Guides for

• ThunderFace 4K Duo
• QOD+

The TF & QOD toolbar displays the following information:

Device Selector
If more than one unit is connected, the selector lets you choose which device the toolbar controls.

RESOLUTION
Current input resolution of the ThunderFace 4K Duo or QOD+.

AUDIO
This button controls the audio input and embedded audio output of the ThunderFace 4K Duo or QOD+.

Mute
Mutes the device’s DisplayPort audio.

TEMP
The internal temperature of the ThunderFace 4K Duo or QOD+.

SERIAL NUMBER
The serial number of the ThunderFace 4K Duo or QOD+.

UPDATE FIRMWARE
Use this button to update the firmware. Follow the instructions in the ThunderFace 4K Duo or QOD+ User Guides.

RESET
Performs a soft reset of the connected unit.

HDR OUTPUT

ThunderFace and QOD (Starting from QTAKE Pro 2.1) support High Dynamic Range output. SDI Monitors with HDR payload detection will correctly set the colorspace and other HDR metadata.

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WEB Menu

The WEB toolbar is used to display a webpage in the active View. You can enable or disable web view by clicking the WEB button. The WEB ADDRESS input field is used to enter the URL of the web page. It is possible to interact with the web page by clicking links and using text input fields. The BACK (<) and FORWARD (>) buttons are used to navigate through the web view history.

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SHOOT ROOM

This room is used for general video assist work - recording and playback.

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RECORD Menu

Press the RECORD button (or use R for View 1 and T for View 2) to start the capture process. The recording will automatically patch the recording View to LIVE.

Can I Record without patching the Views to LIVE?
Yes. To record without patching Views to LIVE, enable KEEP DISK ON REC under FILE Room > OPTIONS. This setting disables automatic patching to LIVE at the start of recording.
Note: This option is not available for half-duplex cards (e.g., AJA with active VIDEO OUT).

Once recording starts, the Record buttons for the inputs being captured will display the duration of the ongoing LIVE clip instead of Record. Additionally, the RECORD button, View outline, time SLIDER, OSD status, and the LIVE clip text color in the LIST will all turn red.

If the TAKE is set to rehearsal, these indicators will display in Pale Red, and the OSD status will show REH instead of REC.

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REC SYNC

Enable REC SYNC (key Y) to record all Views that have signal in sync. If SYNC ALL is enabled, you can press any of the RECORD buttons to start recording all inputs. Long-clicking the SYNC button will open SYNC SETUP - SHOOT dialog (window layout may vary with QTAKE HDx version), where you can choose different SYNC settings for CLIP, RECORD, and CLIP FX. Clips recorded with SYNC enabled will automatically have a sync OFFSET, so you can immediately play them back in sync.

If RECORD SYNC is enabled, entering clip data in LIVE mode will also copy this data to other Views, except the CAMERA letter and ROLL number. QTAKE will also ask if you want to copy the active View’s clip data to the other Views when SYNC is enabled.

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AUTO REC

Some cameras provide a record trigger or record-run timecode to allow external devices to automatically record the signal with exact start and stop times. The second page of the RECORD toolbar provides AUTO REC options for each input. Using the LINK INPUTS toggle button you can link all inputs to follow the auto-recording option selected in the first input.

The following auto-record options are available:

• ”-“ - AUTO REC is not active.
• SDI Flag - start/stop recording when the SDI record flag is received.
• Rec Run - start/stop recording based on the running timecode.
• ScreenPort/MetaCoder - start/stop recording based on the ScreenPort or MetaCoder flag, depending on which device is detected.
• Rig State - start/stop recording based on data received from MRMC rig.

Following cameras support record flag and running timecode metadata over SDI:

• ARRI (All models)
• Blackmagic Design (URSA)
• Canon (EOS models)
• RED (All models)
• Sony (F-series and Venice)
• Panasonic (Varicam)
• Panavision (DXL and Millennium)

Note that Your Project settings have to respect READ SDI DATA = YES setting for AUTO REC to work properly.

REHEARSAL CHECK

Using camera record flag detection, QTAKE can automatically check your clip metadata for incorrect Take value. In case you have marked the clip as a Rehearsal, but the camera was recording (or you have not marked it as a Rehearsal, but the camera was not recording), you will be presented with a warning window.

You can disable this warning by setting this preference to NO: Enable Rehearsal Warning = YES.

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RECORD CONTROLS

During the recording process, you can use the following features:

IN & OUT ON THE FLY
During recording, you can set the IN and OUT (I and O keys) points to mark the important part of the clip.

CHAPTERS ON THE FLY
Besides the IN and OUT points you can create CHAPTER MARKS during recording (J key) to help you quickly navigate to the interesting parts of the shot during playback (< and > keys).

SUBCLIPS ON THE FLY
If you press the MAKE SUB button (P key), the subclip is created based on IN and OUT marks. If there is no OUT mark, the subclip range is determined by the IN mark and the current time. After creating the subclip, a new IN mark is set at the end of the subclip range. You can repeat this action to create the subclip for each take of the series. In addition, CHAPTERS are created for each IN and OUT point used to create a subclip.

CREATE THUMBNAIL
Press the THUMB button (U key) to set the current frame as the thumbnail for the recorded clip. If you don’t specify thumbnail time, IN point will be used to generate a thumbnail.

ABORT RECORD
You can abort recording at any time by pressing the ABORT button in the RECORD toolbar. The current clip will be discarded. The keyboard shortcut is Esc.

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RECORD MULTI IN & OUT

When shooting a series or multiple actions in a single take, you can use multiple IN and OUT points to mark more than one selection. After pressing IN and OUT points for the first time, this selection is automatically stored and you can set different IN and OUT points.

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BIT DEPTH

Video is usually recorded in YCbCr color code. You can choose to record in either 8-bit, 10-bit, or 12-bPit mode. A higher bit depth mode will store video in higher quality, but it also requires more disk space and more processing power.

This is controlled using the preference:

Capture Mode Bit Depth = YES

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CODEC

QTAKE records clips in Apple QuickTime file format. You can compress video to various codecs during a recording. Select the codec that best fits your postproduction workflow or make your selection based on space and quality requirements. QTAKE lets you use any of the following codecs: Apple ProRes Proxy, Apple ProRes LT, Apple ProRes, Apple ProRes HQ, Apple ProRes4444, and H.264 or HEVC. The codec that requires the least CPU resources is Apple ProRes Proxy.

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TERADEK CUBE Support

QTAKE can record RTSP (Real Time Streaming Protocol) from Teradek CUBE over Wi-Fi, without the need for additional video input hardware. To enable the Teradek CUBEs video input you will need to enter the RTSP address in the PROJECT window. The Teradek CUBE has a bonjour-enabled web interface that is used to set up the device and update its firmware.

Step by step for connecting Teradek CUBE to QTAKE:

1. Connect to the Cubes admin interface. Click the Show All Bookmarks item in the Safari Bookmarks toolbar and select your Cube device from the devices listed under the Bonjour heading. For troubleshooting your connection refer to the Teradek Cube manual.
2. Make sure Teradek Cube is running the latest Firmware. Note that the text on the bottom of the Info > About window in the admin interface should say “Your device firmware is up to date.”
3. Set your Compression profile. Go to Video Setup > Encoder Settings and set it to Baseline.
4. Disable Quickview. You will need to disable Quickview for proper operation of the Teradek Cube in 1080 resolution. Go to Video Setup > Stream Settings, then click on the QuickView Stream tab and set the radio button to disabled.
5. Make note of Cube settings. Write down your Primary (RTSP) address and your Output Resolution from the Dashboard section of the admin interface.
6. Set up QTAKE. Start QTAKE and set the Teradek Cube option to YES in your project window. You will need to enter your Primary stream address and set the video format with the format selector. Refer to the Teradek CUBE manual for more setup information.

CUBE video reception is dependent on Wi-Fi signal strength. Using a router with external antennas can improve performance.

Only hardware that supports VDA decoding of H.264s can use other Profiles than Baseline.

QTAKE uses “LIVE555 Streaming Media” software licensed under LGPL. Live Networks, Inc. http://www.live555.com/

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FRAME Menu

QTAKE can be used to record clips frame-by-frame for stop-motion animation:

1. Press the FRAME REC Button to enable frame recording mode.
2. REC Button will change to FRAME Button.
3. Press the FRAME Button to add a single frame.
4. Repeat step 3 until you reach the end of the recording.
5. Press the FRAME REC Button again to finish recording (or ABORT to discard the whole clip).

In case of FRAME REC buttons are greyed out, you have to set AUTO REC to -.

You can also setup up frames to be recorded at set intervals, so-called time-lapse recording.

1. Long click the FRAME REC button to enable TIMER REC.

2. Enable TIMER REC. The REC button will change to TIMER.

3. Enter the desired interval in TIME-LAPSE INTERVAL.

4. Press TIMER to start the timer and start capturing.
5. Press TIMER again to stop recording.
6. Disable TIMER REC to finish the recording.

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VIEW FX Menu

The VIEW FX toolbar allows you to enable, disable, and set up effects applied to the active View. VIEW FX differ from FX in that they are tied to a particular View and any content in the View will have the effect applied. The available effects are:

CC - Color correction
DVE - Digital video effects such as scale and crop
CROP - Crop video frame
MASK - Format/aspect masking and guides
OSD - On-screen display of metadata
GRID - Alignment grid
MIX - Still image mix and overlay
UPSCALE 1080 - Global upscale of View content to 1920x1080
CHANNEL - Isolate a single color channel

Long-click any of the buttons (marked with a dot) to adjust effect settings (see below).

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CC - COLOR CORRECTION

Use the CC button to adjust (long-click) and apply (short-click) basic color correction to the active View.

You can adjust various image attributes in this pop-up window: GAMMA, EXPOSURE, BRIGHTNESS, CONTRAST, SATURATION, RED GAIN, GREEN GAIN, and BLUE GAIN.

If you need to perform the same picture adjustment on both Views simultaneously press the LINK VIEWS button, to apply the current adjustment to the other Views press the COPY TO ALL VIEWS button.

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DVE - IMAGE TRANSFORMATION

Use the DVE button to adjust ( long-click ) and apply (short-click) Digital Video Effects on the View.

You can scale, position, rotate, and mirror the video frame by adjusting the following parameters: SCALE X, SCALE Y, MOVE X, MOVE Y, FLIP, FLOP, ROTATION.

To perform the same picture adjustment on all Views simultaneously press the LINK VIEWS button. To apply the current adjustment to the other Views press the COPY TO ALL VIEWS button.

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CROP

Use the CROP button to make precise adjustments to the video frame. This function allows you to crop the video from the left, right, top, or bottom, giving you control over the video framing.

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MASK - FORMAT FRAME LINES

Use the MASK button to adjust ( long-click ) and apply (short-click) visual guides and format masking on the View.

MASK OPTIONS window contains 3 separate frame formats that can be combined. Each FRAME has its ASPECT RATIO selector with pre-defined standards, custom ratio, and ORIENTATION, where you can choose between HORIZONTAL and VERTICAL options. Frames can be further adjusted using SCALE and POSITION parameters.

If the MASTER FRAME option is enabled, the first frame will be master and the other two frames will be the sub-frames, following the position and scale of the master frame.

Each frame can use MASK, LINE, and CROSS components. You can select COLOR and OPACITY for a mask and additional LINE WIDTH and LINE TYPE parameters for line and cross. If you want to control each frame separately, turn off the LINK option.

MASK MODE can be set to GLOBAL or DISCRETE. The discrete mode will overlay masks of all active frames, while the global mode will first create a union of active frames and then create a mask around it.

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OSD - ON-SCREEN DISPLAY

Turn on the OSD button to display the View status and clip information. Long-click to adjust OSD contents.

Following attributes can be displayed on screen in addition to CLIP, PROJECT, and CREW metadata: CLIP ID, STATUS, SCENE+SHOT, TIMECODE, FRAME NUMBER, CLIP DURATION, SPEED FPS OR PERCENTAGE, TIMELINE, CHAPTER, LUT, HIT, INTER AXIAL, CONVERGENCE, CAMERA XYZ and TARGET XYZ. Each item can have a custom LABEL, SIZE, and PLACEMENT.

You can change the FONT SCALE and the STYLE of the titles and choose to turn off LABELS. Additionally, OPACITY and MARGIN can be adjusted globally for all items.

Part of the OSD is the WATERMARK section, where you can add custom TEXT and LOGO overlays with adjustable PLACEMENT, OPACITY, and SCALE. Use the PATH field to browse for the logo image.

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GRID

Use adjustable horizontal or vertical overlay GRID to help align images. Short-click the GRID button to apply, and long-click to adjust GRID spacing and color.

You can independently set VERTICAL GRID and HORIZONTAL GRID by setting grid line distance based on a percentage of the image width. You can also set overall OPACITY and COLOR.

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MIX

Enabling STILL MIX lets you overlay a static image on a View or key the View contents over a static background. Click SELECT STILL IMAGE to bring up the clip browser. From here you can select any clip in your database, including imported footage.

The sliders on the left-hand side of the Still Mix setup window let you SCALE, MOVE, ROTATE and CROP the still frame.

BLEND NORMAL lets you overlay the still image on the contents of the View. You can control the blending by adjusting the OPACITY slider and selecting if you want the image to blend OVER or UNDER the source. The OPACITY slider can be set to AUTO mode. See the USER INTERFACE section for more information about AUTO SLIDERs. The STILL MIX supports alpha channel in imported material.

CHROMA KEY lets you key the contents of the View over the selected still image. Click the COLOR button to pick the hue you want to key out. ALPHA lets you view the alpha channel of the current key and the BLACK and WHITE sliders allow you to adjust the key to patch holes.

The STILL MIX uses the selected clip’s thumbnail frame (defaults to IN-point or first frame if no IN-point is found) as the reference frame. Setting a new THUMB in the source clip will allow you to mix the content of the View with that particular frame.

You can LINK VIEWS and COPY TO ALL VIEWS just like with other VIEW FX. The WITH IMAGE button lets you choose whether the source image and any scaling or cropping are LINKED or COPIED along with the BLEND or CHROMA settings.

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PATCH Menu

Each View is like a monitor with two inputs.

The PATCH toolbar lets you switch the active View’s source between LIVE (shortcut 9) and DISK (shortcut 0). When in LIVE, the INPUT button lets you select what input to monitor by selecting its number. When the active View is patched to DISK the DISK selector lets you select the camera letter or AUTO.

When a View is patched to DISK, PREV and NEXT will only load clips that have the same camera letter.

If you select AUTO in the disk selection window, PREV and NEXT in the CLIP toolbar will ignore the camera letter, and instead of loading clips based on INPUT, meaning that if you are recording cameras A, B, and C all on the same input, PREV and NEXT will call up those clips in chronological order.

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Clicking the double arrow (») on the side of the PATCH toolbar displays additional options. The patch rules allow you to define the behavior of QTAKE when loading a clip into a View for both CLIP SYNC and non-CLIP SYNC operations. For both you can define these patch rules: Patch by clip, Patch lock, Ask user.

PATCH RULE and PATCH RULE SYNC
NON-CLIP SYNCED operation when loading a single clip with a different disk letter than the active View disk letter.
CLIP SYNCED operation when loading synced clips with different disk letters.
Patch by clip will change the patched DISK letter of the View based on the clip that you are loading.
Patch lock will load the clip into a View with a matching DISK letter.
Ask user will ask you whether to change the patch or load to View in case loading the clip with a different disk letter than the active View.

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CLIP Menu

Every clip consists of video and audio media and metadata stored in the database. You can enter clip metadata before, during, or after recording. The CLIP toolbar lets you enter the following standard information about each clip: CAMERA, ROLL, SCENE, SHOT/SLATE, TAKE and RATING.

A take can be marked as a REHEARSAL and tagged with REF (for reference), P/T (for partial take), and P/U (for pick-up) in the TAKE window. Takes tagged with REF will automatically show up in the REFERENCE section of the browser.

The TAKE value is automatically incremented if entered in LIVE mode, before or during recording. If RECORD-SYNC is enabled, clip data entered in LIVE mode is automatically copied to other camera clips.

You can access extended clip data in the META sidebar and the DATA toolbar.
Each clip can be marked as Circle Take or Print Take. These marks are part of the CLIP DATA metadata category, and you can assign them a global keyboard shortcut. They also have a visual representation in the LIST next to the TAKE number. Circle Take’s mark is a FULL CIRCLE, and Print Take’s mark is an EMPTY CIRCLE.

UK Slating
You can replace the SHOT field with a SLATE field to conform with UK (European) slating. The SLATE field will auto-increment each time SCENE is changed. Slating system can be changed in the project window SLATING section.

The SHOT value can still be entered in the META sidebar.

CLIP NAMING CONVENTION

Recording, importing, or rendering clips is producing Quicktime movie files encoded with the selected codec. All media files are located in the QTAKE Pro Storage folder on the PROJECT STORAGE volume, using unique, persistent filenames.

Additionally, the /QTAKE Pro Projects/PROJECT_NAME/Media folder on the same volume is used to store screenshots and exported files as well as hard links to your media files. These links can be created using CMF (Camera Media Filename) or pre-defined QTAKE filename structure:

[Scene_Shot_Take_Cam]SourceID-ClipID-InputID.mov

When using CMF, hard links will be named according to corresponding clips on the camera magazine. This only applies to clips that are recorded while QTAKE receives a valid record flag and filename metadata embedded in the SDI output of the camera. Clips that are recorded while the camera is not recording will be named by the standard QTAKE clip naming convention.

IMPORT CLIPS and LINK CLIPS functions can parse multiple types of filenames, select the appropriate import parsing filter in the Import dialog. See IMPORT QT MOVIES for specifics on each parsing filter.

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CLIP ID BROWSER

Click the CLIP ID number (or press the G button on the keyboard) to display the textual clip browser. Select the clip and press the OK button (or double-click the item in the list) to load the clip into the active View.

CLIP SELECT

Use PREV. and NEXT buttons (or Up and Down arrows on the keyboard) to select and load a specific clip into the active View. All metadata fields will display information for the selected clip.

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VISUAL CLIP BROWSER

If you have more clips recorded you should use the BROWSE button (or B on the keyboard) to open our tree-based visual clip browser. When the ALL CLIPS button is active, every clip is retrieved from the database and displayed in the Clip Browser. If you select the REFERENCE button, you can quickly access clips marked as REFERENCE. Enter the SCENE+SHOT to immediately select the scene and shot by name.

Clip Slate Information is divided into 3 windows: SCENE, SHOT, and THUMBNAILS. The thumbnail window usually displays TAKES, but it can also display Scenes or Shots by clicking the appropriate segmented button. When you choose the Scene, Thumbnail Window will switch to Shots and then to Takes. The active take has a thicker white outline, if a take has a purple outline the media associated with that clip could not be located.

Use the filter tool to display the selection of takes, based on the RATING or REHEARSAL attribute.

By clicking the take thumbnail, the clip BROWSER closes and the selected take is loaded into the active View. You can use keyboard arrows to navigate inside each window. Press TAB or click the window to put it in focus. Press the SPACE key on your keyboard, or click to load the take.

Press the SELECT button to enable clip selection. Select clips by clicking on their thumbnails (or by pressing the SPACE key on the keyboard). Enable the camera letters from which you want to select clips. Choose another SCENE or SHOT to select takes from multiple scenes/shots. When clips are selected the bottom row of buttons will change to reflect actions that can be carried out on multiple clips. For details about these actions see the FUNCTION section.

Use DELETE REHEARSALS to delete all clips from the current project marked as rehearsals.

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DATA Menu

The DATA toolbar is used to store the most common metadata. It contains a segmented button to let you switch between camera, shot, note, and media categories. All of this metadata can be also accessed via the META sidebar.

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CAM

ROLL, SENSOR FPS, FOCAL LENGTH, APERTURE, SHUTTER

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SHOT

SHOT TYPE: AER - Aerial, EST - Establishing, OTS - Over The Shoulder, TWO - Two Shot, POV - Point of View, SEQ - Sequence, CI - Cut in, CA - Cutaway, MNS - Money Shot, VFX - Visual Effect, PLT - Plate, FG - Foreground, BG - Background.
SHOT SIZE: XLS - Extreme Long Shot, LS - Long Shot, FS - Full Shot, MLS - Medium Long Shot, MS - Medium Shot, MCU - Medium Close Up, CU - Close Up, BCU - Big Close Up, XCU - Extreme Close Up.
SHOT ANGLE: WORM - Worm’s Eye, LOW - Low Angle, EYE - Eye Level, HIGH - High Angle, BIRD - Bird’s Eye, TOP - Top shot, CANT - Canted Shot, DT - Dutch Tilt.
SHOT MOVE: ARC, CRAB, DLY - Dolly, HH - Handheld, PAN - Panning, WP - Whip Pan, TILT, STDI - Steadicam, TRCK - Tracking, ZOOM - Zooming, CRN - Crane, MC - Motion control, CC - Camera Car, LD - Locked-Down.

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NOTE

You can also enter a CLIP NOTE for each take. Ctrl+Enter lets you enter a line break and create multi-line notes.

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MEDIA

MEDIA is used to display the filename of the associated camera media of the RED or ALEXA cameras. To extract metadata you need to select the correct CAMERA MODEL and enable READ SDI DATA in the Project Window. While the camera is not recording the filename will be shown in brackets to indicate that changes might occur.

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SCENE Menu

The SCENE toolbar enables quick navigation between scenes and shots. Default shortcuts are Ct-Up, Ct-Down arrows to navigate between SCENEs, and Alt-Up, Alt-Down to navigate between SHOTs. The SORT BY button lets you toggle between NAME and DATE sorting and the LOAD button defines what TAKE to load when navigating to another SCENE.

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PLAY Menu

After recording, QTAKE can automatically switch to the DISK or PLAY mode, based on POST-REC ACTION in the OPTIONS toolbar. The Timecode label displays the current timecode either in LIVE or DISK mode. Clicking the TIMECODE label will toggle the display between the timecode and frame number. The following playback commands are available:

		MARK - jump to the previous IN point ([)	MARK - jump to the next OUT point (])
		REVERSE PLAY ONE - play active IN-OUT range in reverse (Ct-Space)	REVERSE PLAY ALL - play all IN-OUT ranges in reverse (Ct-Space)
		PLAY ONE - play active IN-OUT range forward (Space)	PLAY ALL - play all IN-OUT ranges forward (Space)
		FRAME - go to the previous frame (Left)	FRAME - go to the next frame (Right)
		LOOP - infinite automatic playback restart	LOOP - counter mode automatic playback restart with LOOP STOP ACTION
		PONG - infinite automatic PONG playback	PONG - counter mode automatic PONG playback with LOOP STOP ACTION
		SKIP - skip backward using the number of seconds specified in the SKIP TIME field. (Ct-Left)	SKIP - skip forward using the number of seconds specified in the SKIP TIME field. (Ct-Right)

If the playback was active before using the FRAME and SKIP commands, it will stop. Jumping between ranges will keep the playback active.

The second page of the PLAY toolbar also contains a powerful SLAVE PLAYBACK command that will automatically seek to correct the frame based on the external timecode. This feature is also known as “timecode chase” and it is used to slave the playback to an external master source, such as another player or a motion control rig.

QTAKE will remember where the playhead was located last time you had a clip loaded but if you prefer to have the playhead automatically jump to the IN point enable the RESET PLAYHEAD option and select which range to reset to using PLAYHEAD RANGE option in the OPTIONS toolbar.

Looping, speed, and synchronization of multiple players are available in the CONTROL toolbar.

Scrubbing/jogging through the clip is done by dragging the TIME SLIDER in the SLIDER toolbar or dragging the cursor horizontally through the View.

Shuttling through the clip is available in the SHUTTLE toolbar.

Ramping the speed of the clip is available in the RAMP toolbar.

PLAYBACK STATE
The playback state keeps active when browsing through the clips. If the playback hasn’t been stopped, it will continue with a new clip after loading into View.

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LOOP / PONG PLAYBACK

Within the PLAY toolbar, you will find the LOOP button. Press it to enable seamless playback restart after reaching the OUT mark. Long-click the LOOP button to open the LOOP OPTIONS. In this menu, you have the following options:

• LOOP Mode - LOOP automatically restarts the playback after reaching the OUT mark. In the PONG mode, the clip plays in reverse when it reaches the OUT mark and forward again when it reaches the IN mark.
• REPEAT Mode - When you select the INFINITE mode, the selected LOOP mode plays until you stop the playback. In the COUNTER mode, the clip plays until it reaches the number of repeats specified in the REPEAT field.
• STOP ACTION is only available if the COUNTER mode is active. LOOP STOP ACTION is performed at the end of the looped playback. Current options are NONE, PATCH TO LIVE, and GO TO START.

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PLAYBACK MULTIPLE IN & OUT

If you have marked multiple ranges within a clip you can use the <MARK and MARK> buttons to move between the selections. Long-click the PLAY Button to switch from PLAY ONE to PLAY ALL mode. Short-click RESET to delete the current selection, and long-click RESET to delete all selections. Selected IN-OUT range (SUBTAKE) number will be displayed in OSD (in the TAKE field). Turn off the USE RANGE option in the SLIDER to allow playback outside of the marked ranges.

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MRMC Flair Motion Control

Setup

The following steps are required to establish communication between FLAIR and QTAKE:

• Make sure FLAIR and QTAKE are connected to the same network
• In the FLAIR app, set the Setup > External Devices > Data Output to OSC XYZ, UDP mode, and enter the IP address of the machine running QTAKE Pro and port number (in this model case, it is 4725, but you can use any free UDP port)
• In QTAKE, set the Preferences > Rig > Rig Type to Marc Roberts and Port to 4725 (or whatever you have set in FLAIR)

OSD

To check if you are receiving data from FLAIR, turn on OSD and add FLAIR-related data to the OSD Template (Camera XYZ, Target XYZ, Rig Frame, Rig State…).

Auto-Record

For auto-recording based on the FLAIR run state, set the auto-recording type Rig State. The Auto-record type field is located in the RECORD toolbar after clicking the double arrow (»).

Slave Playback

Follow the instructions for slave playback, where QTAKE will follow FLAIR’s move in SHOOT or BROWSE mode:

• Make sure you are running QTAKE Pro HDx2 and the COMP room is active
• Record first pass from motion control in VIEW 1
• Load recorded clip into VIEW 2
• Long-click the TC SLAVE PLAYBACK button to switch to the RIG SLAVE PLAYBACK mode
• Set the INPUT field to 1 (to control playback in VIEW 2 using data from INPUT 1 / VIEW 1)
• Activate the RIG SLAVE PLAYBACK button (the time slider knob will be hidden because playback is now controlled by the motion control rig)
• Now you can use SHOOT or BROWSE mode in FLAIR, and VIEW 2 playback will follow

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SLIDER Menu

You can use the TIME SLIDER to scrub through the clip, or just drag your finger/mouse pointer across the View. If you try to scrub during playback, play is paused and it will resume when you finish scrubbing.

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PLAYBACK RANGE

The active part of the clip is defined by the IN and OUT points and it is visually presented by the solid bar inside the TIME SLIDER. Every clip is played from IN to OUT point. You can go past this range by scrubbing or by using the SHUTTLE, but playback outside of the range is possible only if you disable the USE RANGE option.

IN and OUT buttons (with I and O hotkeys) are used to create ranges during recording or playback. Long-clicking IN or OUT button will reset the active IN or OUT point. Use the RESET button (Backspace) to remove the active range, long click it to remove all ranges from the active clip. Click the DURATION label to toggle the display between the timecode and frame number.

There are multiple groups of ranges available to provide independent annotation by multiple users. Additionally, the QTAKE operator can now use a different group of ranges in the EDIT or COMPOSITE to avoid losing original ranges from the SHOOT room. See more in the RANGES section.

POSTER MARK

The triangle icon in the top part of the slider indicates the position of the poster frame. Click the THUMB button to change the poster frame to the current frame. The poster frame is used for thumbnail images in the Clip Browser or PDF Report.

SYNC MARK

The diamond icon in the bottom part of the slider indicates the position of the sync frame, used to synchronize the playback of multiple clips. Click the OFFSET button in the Control toolbar to change the sync frame.

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SLIDER 2 Menu

If you want to save some UI screen space, you can use a smaller version of the TIME SLIDER with limited functionality. Only IN and OUT buttons are available in this version.

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SUBCLIPS

To take this even further, you can make subclips based on IN and OUT points. Press the MAKE SUB button to create a subclip including a copy of all metadata. When the subclip is the current clip, this button changes to the MASTER button. Pressing this button loads the master clip of the current subclip into the active View. In addition, IN and OUT points are set to display which part of the master clip makes the content of the subclip.

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THUMBNAILS

Press the THUMB button (U hotkey) to update the browser thumbnail image of the selected clip to the current frame.

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CONTROL Menu

A section of two data entries is used to control playback speed:

• CAMERA SPEED - enter camera speed to simulate different camera speeds.
• PLAY SPEED % - Allows you to adjust the playback speed in percentage. PLAY SPEED can also be set to negative values to allow reverse playback without using the REVERSE button.

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Interpolated Off-speed playback

The issue of Slow-motion playback is a common concern in the video assist industry. While cameras can internally record high frame rates, their SDI outputs are typically limited to 60 fps. To help simulate fluent off-speed playback, the following clip-based SPEED MODE options are available:

• Nearest Frame - active when the Speed Mode is disabled.
• Frame Blend - default setting of the Speed mode. Function active when the Speed mode is enabled.
• Optical Flow - secondary setting of the Speed mode. Function active when the Speed mode is enabled.

The Speed mode state is a project-based property. Once enabled, it applies to every clip loaded into View, and vice versa.
On the other hand, the Speed mode setting is a clip-based property and is configured individually for each clip.

Nearest Frame

The Nearest Frame mode is the default off-speed playback mode, which does not utilize any interpolation methods. Instead, it duplicates frames to match the CAM SPEED fps, automatically calculated based on the PLAY SPEED % field. While this mode provides playback, it may not be as smooth as modes utilizing interpolation.

Frame Blend

When the Speed Mode is enabled, the Frame Blend mode dissolves between adjacent frames to achieve smoother off-speed playback. Real-time analysis is performed without the need for background processing. You can set the desired PLAY SPEED %, and the CAM SPEED fps will be automatically calculated. To activate the mode, enable the Speed mode button while setting it to FRAME BLEND.

Optical Flow

Optical Flow mode employs motion vectors to interpolate missing frames. Motion vector integration introduces the most sophisticated slow-motion simulation, providing the smoothest playback. Due to its computing power demands, enabling this mode triggers a background task to calculate and cache motion vectors for all clip ranges. The cached motion vectors eliminate the need for a new analysis when changing the PLAY SPEED %.

Adjusting or adding IN-OUT ranges automatically triggers the calculation of missing Optical Flow vectors.

Enabling the OPTICAL FLOW mode initiates automatic background analysis, with the Speed Mode button indicating task progress percentage. During this process, playback temporarily reverts to FRAME BLEND. When you click the Speed Mode button during Optical Flow analysis, the process cancels out.

Cancelation of the Optical Flow analysis is an additional function.
When you click the button during the analysis, it will cancel the task, and the Speed mode will be disabled automatically, falling back to Nearest Frame mode.
When you long-click the button during the analysis, it will cancel the task and switch the Speed mode to FRAME BLEND.

Multi-clip selection

When selecting multiple clips in the LIST, the Speed Mode button displays the caption (either FRAME BLEND or OPTICAL FLOW) only if all selected clips share the same settings; otherwise, it shows three dots. Long-clicking the Speed mode button allows you to change the setting for all selected clips. While changing the mode to OPTICAL FLOW sets the mode for all selected clips, the analysis won’t start automatically. To analyze multiple clips, use LIST -> FUNCTION -> OPTICAL FLOW ANALYSIS; this will be calculated for all IN-OUT ranges of selected clips.

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CLIP SYNC

Press the CLIP SYNC button for comfortable, synchronized clip loading. With CLIP SYNC enabled you need to load only clip from one camera and the synced Views will load corresponding clips (with matching ID) automatically.

Long-click the CLIP SYNC button to display sync options.

The full logic of CLIP SYNC consists of two steps.

1. CLIP SYNC searches for clips with matching IDs and different camera letters of the corresponding disk originating in the same machine as the selected clip
   
2. If CLIP SYNC does not find any matching clips based on ID, it searches for clips with matching EPISODE/SCENE/SHOT/TAKE but different camera letters of the corresponding disk.

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PLAY SYNC

Two or more clips can be played in sync. For synced playback, you need to specify OFFSET. The right section of the CONTROL toolbar is the OFFSET display. Clips recorded at the same time automatically get offset values in relation to each other. Use AUTO PLAY-SYNC in the OPTIONS toolbar to automatically enable PLAY SYNC mode for sync-recorded clips. The AUTO-OFFSET option will enable automatic offset even if the clips are not recorded in sync.

To specify the OFFSET manually and play two or more clips in sync, follow these steps:

1. Load the clips you want to play in sync into your Views.

2. Find the sync point for each clip.

3. Press the OFFSET display to store the time difference between clips.

4. PLAY SYNC button is automatically enabled for synchronized playback.

5. Press any button in the PLAY toolbar for synchronized playback commands.

To specify the OFFSET automatically by timecode, use this Preference:

Set Play Sync Offset By TC = YES

Set to = YES if you want QTAKE to determine PLAY SYNC OFFSET using the timecode of the clips. QTAKE will automatically MUTE clips in V2-4 when playing back clips with the same ID in sync. You can override this by setting:

Enable Play Sync Auto Mute = NO

Why did my IN and OUT points change?
When you PLAY SYNC two or more clips QTAKE will adjust IN and OUT points so that only overlapping sections of the clips are enabled for playback. You can change this behavior in the preferences by setting:

PreRoll And PostRoll For PlaySync = YES

This will adjust all synced clips to match the longest one.

Use the + and - buttons to adjust the offset of the active View in relation to the other Views.

REV. PLAY or negative PLAY SPEED?
Enabling PLAY SYNC will keep playback synchronized when using PLAY or REV. PLAY. If you want to synchronize one clip playing forward with another clip playing in reverse you can achieve this by entering a negative PLAY SPEED for one of the clips.

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SYNC SETUP

QTAKE will by default synchronize actions across all Views (1+2+3+4) when a sync button such as REC SYNC or CLIP SYNC is enabled. The SYNC SETUP window lets you exclude Views or break down the Views into smaller groups. Long-click one of the sync buttons to enter the SYNC SETUP window. The Views indicated in blue belong to the current sync group. Click one or more of the Views to exclude it from the group.

Views that are excluded from a sync group can be added to their group by closing the SYNC SETUP window, activating the View, and entering the SYNC SETUP window again. The sync buttons will indicate what Views are part of the current group in parentheses under the button title.

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SHUTTLE Menu

Using the SHUTTLE toolbar, you can play through the whole clip using variable speeds ranging from 1/64x to 64x. Note that this way of transport doesn’t play audio and doesn’t respect IN and OUT points.

STICKY option YES means that playback will use speed value based on the position where you released the SHUTTLE slider cursor. On the other hand, option NO only applies the speed value as you hold the cursor, as you release it, the speed value is reset to 0, and the SHUTTLE playback stops.

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CHAPTERS Menu

When recording series or long takes, you might have problems finding the right part of the clip.

In the CHAPTERS toolbar you can create (shortcut J) and delete (shortcut Ctrl+J) chapters for each clip. Each chapter can have its name. QTAKE will parse the chapter names for the keywords GOOD and BAD and display a green or red chapter marker if found. If you would like to add a chapter directly with either of the keywords the keyboard shortcuts are Ctrl-Alt-G for GOOD and Ctrl-Alt-B for BAD. Chapters can also be used to trigger GPI Outputs which lets you sync external equipment to playback.

You can jump between the chapters with the PREV. NEXT buttons and use the MARK button to set the IN and OUT points based on current and next CHAPTER markers.

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AUDIO Menu

The AUDIO toolbar mainly controls various aspects of QTAKE audio output. The following controls are available in the AUDIO menu (use the double arrow (») to navigate to the second page of the menu):

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MUTE LIVE

Master MUTE LIVE button disables live audio output (shortcut N). Input audio is still recorded, but it is not routed to the audio output. This functionality is very useful during playback when live audio would mix with playback audio creating confusing audio output.

Master MUTE LIVE button disables any AUTO MUTE LIVE options described in the sections below.

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MUTE LIVE BASED ON RECORDING

Unlike in previous QTAKE versions where operators had to manually toggle on and off the MUTE LIVE button, which creates room for human error and also means resetting settings for AUTO MUTE LIVE, starting with QTAKE Pro 2.2 we introduce new automated options.

To activate this feature, long-click the MUTE LIVE button, and in the first row select ON LIVE. This will automatically mute LIVE audio unless the QTAKE is recording (on rehearsals or takes). It also prevents the agency & client from hearing unwanted chat from the set - which sometimes can land the cast or even the director in trouble!

AUTO MUTE LIVE OPTIONS

Long-click the MUTE LIVE button to reveal automatic mute options for live audio. When you activate AUTO MUTE LIVE, the master MUTE LIVE button title changes to AUTO MUTE LIVE to indicate that this option is ON. However, when you click the button again, you will activate the master MUTE LIVE, and any AUTO MUTE LIVE options will be disabled.

MUTE LIVE MODE PER INPUT
You can set each input to one of the modes:
Normal (dash) – LIVE audio input is muted either manually or automatically on disk patch
On Live – LIVE audio input is muted when not recording
On Rec – LIVE audio input is muted when recording
Always – LIVE audio input is always muted
In case multiple inputs use the same audio device, they will be automatically linked together. Additionally, if you set all inputs to Always, the MUTE LIVE button will change the title to ALL INPUTS MUTED.

AUTO MUTE LIVE ALL/ANY INCLUDED
The AUTO MUTE LIVE button activates automatically when the settings are met. This option allows specific Views to be Included or NOT (-) from AUTO MUTE LIVE when View is patched to DISK mode. ALL INCLUDED / ANY INCLUDED selector specifies whether ALL or ANY Views from the Included pool have to be patched to DISK to mute the LIVE audio.

For example, your QTAKE Pro setup is HDx4, AUTO MUTE LIVE is ON, you set ALL INCLUDED and you have View 3 and 4 Included.
QTAKE would automatically mute LIVE audio when you patch both Views to DISK mode.
In the same setup but with the selector in ANY INCLUDED QTAKE would mute LIVE audio if you patch either View 3 or 4 or both to DISK.

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MUTE VIEW

Playback audio of each View can be muted individually using MUTE VIEW x buttons.

Long-click MUTE VIEW x will enable mute channel selection of the selected View. In case the View source contains multiple audio channels, this option allows you to mute particular channels.

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AUDIO INPUT LEVEL

Historically, the audio input level in QTAKE has been applied equally to all inputs. However, with the introduction of QTAKE Pro 2.2, you can now set the audio input level per input. You can adjust the audio GAIN individually depending on the View you have selected. This provides greater flexibility and control over the audio settings.

Use the AUDIO INPUT LEVEL field to adjust input level of the incoming audio. This will also affect the level of your recorded audio.

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METER Enables audio level metering for LIVE and PLAY mode (key Ctrl-M).

LIVE AUDIO OUTPUT DEVICE Select the system device to use for analog audio output.

LIVE DELAY Adjusts the delay between LIVE video and audio.

DISK AUDIO OUTPUT DEVICE Select the system device to use for analog audio output.

DISK DELAY Adjusts the delay between playback (DISK) video and audio.

WAVE - Enables a waveform display of the audio track below each View.

Why is the WAVE button inactive?
To use the waveform audio display you will need to set:
Enable Audio Waveform = YES

However you should be aware that enabling audio waveform will increase the performance requirements for the system.

AUDIO INPUT is set in the PROJECT window.

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VIDEO OUT Menu

This menu is used to activate SDI outputs from the video card. To enable video card outputs globally, turn on this preference:

Enable Video Output = YES

Each video card output is controlled independently from the VIDEO OUT toolbar. When V-OUT is disabled in DISK mode, your video card outputs live passthrough, the same as in LIVE mode.

Most video cards are half-duplex - they can either capture or playback. This means you won’t be able to monitor processed LIVE image (only clean live passthrough) through the video card in this mode.

There are also limited compositing capabilities because QTAKE uses View 2 (SDI2) for composite. This means you can only mix LIVE A on top of DISK A or B.

View 1 is mapped to SDI1 OUTPUT, View 2 to SDI2 OUTPUT, etc. When the View is in LIVE mode, you will see an unprocessed passthrough signal on the SDI Output. When the View is in DISK mode, your video card is switched to playback and you will now see the processed image on the SDI Output.

Audio
Some half-duplex video cards have only one audio stream (even though there are 2 video streams inside) you can capture only one audio (which is copied to both A & B clips). The same goes for playback. If you play back both Views, you will hear only the sound of the ACTIVE View.

Audio is embedded into SDI output, both in LIVE and DISK mode

PROS:
Using fully processed SDI playback directly from a video card without DVI TO SDI converters Monitoring unprocessed LIVE feed (zero delay) and processed PLAYBACK on the same wire (no need for SDI switcher)

CONS:
When using a single AJA video card for two channels the inputs need to be genlocked for passthrough to function properly. Inability to monitor processed LIVE feed. Limited compositing capabilities (due to the half-duplex nature of the card) Limited auto-rec (since a half duplex video card cannot read SDI input while in playback)

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SIMULTANEOUS SDI INPUT & OUTPUT

QTAKE can use multi-channel video cards to provide simultaneous SDI input and output. Using QTAKE in this way enables processed live output, but it will also add around 4 frames of latency because each frame has to be captured, processed, and sent to monitor over the SDI output.

Some video cards provide full-duplex channels, which means each channel can be used for input and simultaneous output. But all AJA cards are half-duplex, which means QTAKE will use twice as many channels to provide full-duplex functionality. Additionally, all AJA cards are limited to the same format on output, so you need to use one card per camera to provide independent outputs.

See VIDEO CARDS for more details.

To enable 2 cards support, set this preference:

Two Boards For Dual IO = YES

This is an alternative to using DVI outputs converted to SDI, although an additional image processing pipeline will add 2-3 frames of delay compared to DVI output.

To enable simultaneous SDI input and output, set this preference:

Constant Playout Mode = YES

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SDI HDR OUTPUT

QTAKE supports High Dynamic Range via AJA, Blackmagic Design, and Deltacast video cards to HDR monitors. HDR signal is automatically detected in both LIVE and DISK modes. If V-OUT is enabled, QTAKE sends the HDR signal automatically to video card output, no additional project setting or preference is required, signal has to be flagged with the correct HDR-compatible color space.

In the MEDIA Menu COLOR SPACE, you can switch between HDR-compatible color spaces, and supported monitors will reflect the signal change. HDR-compatible color spaces:

• Rec.2020 PQ
• Rec.2020 HLG
• P3 D65 PQ
• P3 D65 HLG

To manage the HDR modes, click the double arrow (»). You have three modes available:

• HDR10 - The default HDR mode.
• Dolby Vision® Meta - Adds Dolby Vision metadata with SDI signal that can be read by compatible devices (e.g. eCMU, another QTAKE system).
• Dolby Vision® iCMU - Applies iCMU for SDI output. This mode does not require an HDR monitor.

In addition to V-OUT, QTAKE also provides support for HDR (High Dynamic Range) in UI Views. This functionality becomes relevant when the main QTAKE user interface is being displayed on an HDR-capable monitor. QTAKE ensures that the UI Views maintain HDR capabilities, enabling a consistent HDR experience throughout the application.

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HDMI OUT Menu

This menu is used to turn on processed HDMI output.
If the HDMI OUT button is OFF, the output will be a plain video card unprocessed signal with no playback or image processing possible.
If the HDMI OUT button is ON, QTAKE sends processed video output to the video card HDMI out port based on the selected View from the HDMI VIEW dropdown.

Double arrow (») secondary option provides HDMI HDR MODE options. You can choose from:

• HDR10
• Dolby Vision® iCMU
• Dolby Vision® 2.9 Preview
• Dolby Vision® Preview / No Letterbox
• Dolby Vision® 4.0
• Dolby Vision® 4.0 / No Letterbox

Selecting any of Dolby Vision 2.9 or 4.0 modes will result in a pop-up window informing you that the SDI output of View selected in the HDMI VIEW dropdown will be disabled. You can either proceed or cancel the HDR mode change.

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NDI® OUT Menu

This menu is used to turn on NDI outputs. NDI is an IP Video standard created by Newtek to provide high-quality video delivery on the local network.

The current version implemented in QTAKE is NDI v5.

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DOCK Menu

The DOCK toolbar gives you a convenient way to quickly access clips stored in Bins, without having to enter the browser. Clicking on any populated slot in this scrollable toolbar will load the clip from that slot into active View. Long-clicking an empty slot will store the clip currently loaded into the active View in that slot. In case you long-click a slot that is already populated, a dialog will appear asking you whether you wish to overwrite the currently stored clip or clear the slot.

BIN picker is used to select active Bin, which will be used to populate slots. If you want to create new Bin or make adjustment to current one, click the EDIT button. The MODE option allows toggling between Image, Text (Camera/ Scene/Shot/Take) or Both.

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QUAD Menu

When using QUAD SPLIT unit to record 4 cameras using single QTAKE input, you can select which quadrant to blow up to full size. Use S1 or S2 to blow up stereoscopic pairs Q1+Q2 or Q3+Q4. DEMUX LEFT and DEMUX RIGHT let you stretch the Left or Right eye for 2D output. This also lets you use a muxed signal as two separate cameras by demuxing left and right sections of the image to your two Views.

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SEND Menu

If you have foreground and background clips loaded in the Views inside the SHOOT room, you can easily load them into a composite using the SEND TO COMPOSITE button.

You will be presented with a dialog that will let you select an existing composite or create a new one. If you decide to use existing composite, previously loaded clips will be replaced by current clips.

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DOLBY VISION® Menu

This toolbar features Dolby Vision® modes settings. The toolbar options are available when active View is patched to DISK and LIVE, but not all options are available for both. To manage Dolby Vision modes, set your project HDR settings to Dolby Vision, otherwise, you will get a notification in the status bar that the project HDR settings have to be set to Dolby Vision.

The following Dolby Vision modes are available:

• The active View is patched to DISK :
  • Live Analysis - is the default mode. It uses metadata from Dolby Vision analysis performed frame-by-frame in real-time.
  • Shot-based Analysis - uses metadata from the clip-based Dolby Vision analysis.
  • Hero Frame - uses metadata from the frame-based Dolby Vision analysis of the selected frame.
• The active View is patched to LIVE :
  • Live Analysis
  • Hero Frame

Shot-based Analysis mode

Clip-based Dolby Vision analysis produces a single set of Dolby Vision metadata values. When you select this mode from the picker, the set will be used for the clip playback. If the clip analysis has not been performed, you will be presented with a choice to perform the analysis or cancel, which will default the picker to Live Analysis. You can perform Dolby Vision analysis manually by selecting a clip in the LIST -> FUNCTION -> RUN DOLBY VISION® ANALYSIS

Hero Frame mode

You have to set a Hero Frame manually based on what part of the clip you find the best for Dolby Vision analysis. Long-click the Hero Frame button to mark the currently playing frame in the active View, and the picker will automatically select the Hero Frame. The analysis metadata is used for the whole clip playback. Single click the button and the playhead jumps to this frame. If the clip does not contain a Hero Frame reference, and you select this option from the picker, you will be presented with a choice to set the Hero Frame based on the position of the playhead of the active View. Otherwise, the picker will fall back to Live Analysis.

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MUXER Menu

With the MUXER toolbar you can capture muxed side-by-side 3D clips. Each clip recorded in muxed mode will get an SBS attribute. You can set the clip to SBS by clicking the MUXED label. This is useful when importing SBS footage. When a clip is set to SBS, QTAKE will process each side separately in DVE, MASK, GRID, OSD, and WIPE functions to provide the correct result. Another click on the MUXED label will set the clip to FSBS (fake side-by-side) which will duplicate the left side to the right side of the image and place them side-by-side. This is useful when using a 2D image in a 3D SBS project.

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DEMUX

Press the DEMUX button to un-squeeze either side of the muxed clip. This is used to watch a single camera feed. Select which camera to monitor using the DISPLAY button - this way you can display the selected camera on a 2D monitor. If the DEMUX button is disabled DISPLAY will copy the selected camera to another half of the image to enable a single camera display on a 3D monitor (without the need to exit the 3D mode of the monitor).

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REMUX

If your 3D monitor doesn’t support SIDE-BY-SIDE input mode, you can remux GPU Output to (this doesn’t affect video board output):

LBL - for 3D monitors that support only LBL input. DLP - for 3D monitors that support only DLP input. 2D Left - if you want to display only the left eye on a standard 2D monitor. LBL Swap - same as LBL but with left and right eye swapped. DLP Swap - same as DLP but with left and right eye swapped. 2D Right - if you want to display only the right eye on a standard 2D monitor.

Working with MUXED 3D The project window lets you set the camera layout for each input. When receiving a premuxed, side-by-side signal set LAYOUT to 3D SBS. There are several settings in the PREFERENCES that control the behavior of QTAKE in relation to muxed material.

Show Demuxed Thumbnails = NO is set by default.

Set to = YES if you want to display demuxed thumbnails of the muxed clips.

Demux Video Output = NO is set by default.

Set to = YES if you want to output a demuxed image from the video board output. This will enable simultaneous 3D (from GPU) and 2D (from Video Board) output.

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3D TOOLS Menu

When shooting stereoscopic projects, you can set the following parameters for clips:

FLIP - horizontally flips the image of the current clip (original QT file is transformed).
FLOP - vertically flips the image of the current clip (original QT file is transformed).
H.I.T. - adjust the 3D convergence by horizontal shift (also known as H.I.T or POST-CONVERGENCE).

QTAKE also features dedicated keystrokes for incrementing/decrementing axial (Alt-Left, Alt-Right). This is useful for external controllers, which can map button clicks to standard keystrokes.

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AUTO-SCALE To avoid black edges when setting AXIAL (convergence), you can set SCALE to scale the IMAGE or MASK based on shift amount.

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RAMP Menu

The RAMP toolbar allows you to create speed ramps in a clip. Clicking the RAMP button enables or disables the RAMP, when RAMP is enabled the active part of the clip turns teal on the time slider. Note that you can only create or edit keyframes when the RAMP button is disabled.

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The NEW button creates a keyframe at the position of the playhead. Afterward, by adjusting the CAM SPEED or PLAY SPEED of a keyframe, you can set the playback behavior of the clip from that keyframe forward.

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The HOLD or LINEAR value alters the playback behavior between two keyframes. HOLD will play at the speed value of the last keyframe until the playhead encounters another keyframe. LINEAR will create a linear speed ramp between the current keyframe and the next.

PREV and NEXT let you jump quickly between keyframes.

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3D VIEW Menu

3D VIEW toolbar is an additional tool to help you analyze 3D images or preview stereoscopic effects.

Press the PLUS 3D button to enable 3D VIEW in DUAL or QUAD View mode. A separate non-selectable image window called the 3D View will appear to display various modes of stereoscopic image representation. You can discard DUAL or QUAD View and display only 3D VIEW in GUI by holding the PLUS 3D button. The button title will change to 3D SOLO. If you want to return to DUAL or QUAD View + 3D VIEW, long-click this button again.

3D VIEW SOURCE

When using non-muxed 3D, the left eye image is taken from View 1 and the right eye image is taken from View 2. The 3D VIEW will use left and right images to create a stereoscopic image or a preview of the stereoscopic effect. When using muxed inputs, each View contains left and right eye images in side-by-side muxed mode. In this case, PLUS 3D View will take both images from the active View. You can override this by forcing PLUS 3D source to a specific View using the preference:

Force Plus3D From View = NO

When set to zero, PLUS 3D will use ACTIVE View as the source. Set it to number of the View to be used as the 3D VIEW source.

3D VIEW OUTPUT

By default, 3D View will display stereoscopic image only in the GUI. Using the OUT button you can send 3D VIEW to 1st GPU-OUT. You can also send 3D VIEW to your SDI output by long-clicking the V-OUT button and activating it.

3D VIEW MODE

Setting the 3D VIEW MODE is accessed by clicking the double arrow (») within this toolbar. Following modes are available:

• ANAGLYPH - Color separation in most popular red/cyan color channels.
• DIFFERENCE - Grey difference of left and right camera view.
• INTERLACE - Line-by-line mux of left and right camera view.
• BOX BLEND - Left and Right camera image is blended through a checkerboard.
• DISSOLVE - Left and Right camera image is blended using 50/50 dissolve.
• WIGGLE - Each camera view is displayed for a selected amount of frames.
• DUAL - Each View is displayed side-by-side.
• SBS - Stereoscopic side-by-side mode.
• COMPOSITE - Various modes for blending left and right camera view.

Use the SWAP field to swap the left camera view with right camera view without the need to patch different source to each view.

Use the OPTION field to customize the selected 3D display mode.

Day For Night

3D VIEW can also be used for realtime preview of the special day-for-night effect, powered by Stereotec. This innovative workflow uses two cameras mounted on the 3D mirror rig, where one camera shoots regular visible image, while the other one captures infrared light from the exactly the same point of view. Blending these two layers together produces image that brings new quality to simulated night scene shooting during daytime, especially for wide outdoor shots with sky.

Following steps are required:

• Turn on PLUS 3D button in the 3D VIEW toolbar.
• Patch visible light camera into View 1 and infrared camera into View 2.
• Apply your preferred day-for-night grade to View 1
• Set the 3D VIEW MODE to COMPOSITE with COLOR option.
• Apply CONTRAST CURVE clip effect to View 2 and adjust it to your liking.

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MEDIA Menu

A single clip in QTAKE can have multiple media files associated with it. For example, if you are recording proxy media in addition to the main recording, you would have both the RECORDED file and a PROXY file connected to that specific take. The MEDIA toolbar allows you to switch between these different media files for the clip loaded in the active View.

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ACTIVE MEDIA

Using the ACTIVE MEDIA you can switch between media types available for the active clip. If you want to globally change what type of media is loaded for each clip, set the PREFERRED MEDIA field. The following values are available:

• RAW
• Original
• Intermediate
• Recorded
• Proxy

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RENDER PROXY

The RENDER PROXY button allows you to render the proxy file for the clip loaded in the active View. It can be handy if you made changes to the clip look and you need to update the proxy file to match the original. In this case, QTAKE will render a new PROXY media file and will delete the old one. A dot will appear on the RENDER PROXY button if you have clips in your project that do not have proxies. Long-clicking the RENDER PROXY button will create proxies for any clips that are missing them.

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ACTIVE AUDIO

Using the ACTIVE AUDIO you can switch between audio media available for the active clip. If you want to globally change what type of audio media is loaded for each clip, set the PREFERRED AUDIO field. The following values are available:

• Embedded - audio tracks contained in the video media file
• Synced - external audio media synced to video media

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SYNC AV

Load a video clip into View 1 and an audio clip into View 2. Use PLAY SYNC functionality to synchronize the playback of video and audio media. When done, click the SYNC AV button to attach the new audio media active clip. This will allow you to play back and export clips with external media.

AV OFFSET

Use the AV OFFSET field to enter a numerical value for audio/video offset.

DECREASE AV OFFSET

Use the -1/4F button to decrease audio/video offset by 1/4 of the frame duration.

INCREASE AV OFFSET

Use the +1/4F button to increase audio/video offset by 1/4 of the frame duration.

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MEDIA INFO

The MEDIA INFO section displays relevant information about the currently loaded media file, such as video format and codec.

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COLOR SPACE

Use the COLOR SPACE field if you want to override the color space value contained in the media file. The following values are available:

• ACESproxy
• ACES
• Rec.601
• Rec.709
• Rec.2020
• Rec.2020 PQ
• Rec.2020 HLG
• P3 D65
• P3 D65 PQ
• P3 D65 HLG
• Alexa LogC
• ARRI LogC3
• ARRI LogC4
• Sony S-Log3 S-Gamut3

Note that for the LIVE signal, the COLOR SPACE override is not possible if the AUTO COLOR SPACE option in the PROJECT SETTINGS is set to YES. The selection will fall back to the detected COLOR SPACE of the LIVE signal.

The COLOR SPACE picker behaves differently in LIVE, RECORD, DISK, and CLIP SELECTION modes.

• LIVE
  In LIVE mode, the picker displays the same value as the COLOR SPACE picker in the PROJECT SETTINGS. If you change the value in the MEDIA toolbar while in LIVE mode, it changes the picker value in PROJECT SETTINGS automatically.
  In case the AUTO COLOR SPACE option in PROJECT SETTINGS is set to YES, manual selection in the MEDIA toolbar is not applicable. Selection always falls back to automatically detected COLOR SPACE in the LIVE signal.
• RECORD
  While recording it is not possible to change the COLOR SPACE value. If you try changing it, you will get an informational pop-up message.
• DISK
  In DISK mode the picker displays media original COLOR SPACE in bold. If you select a different value, it will override the original one. Long-clicking the picker resets the override and the media’s original COLOR SPACE is used.
• CLIP SELECTION
  If CLIP SELECTION is active in the LIST sidebar and at least one clip is selected, the picker sets media COLOR SPACE override for RECORDED clips included in the selection. For LIVE clips that are part of the selection, QTAKE sets the INPUT COLOR SPACE value based on the picker value.

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STEREO 3D

Set the STEREO 3D field to one of the following values to describe stereoscopic video content:

• 3D LEFT - video content represents left-eye view
• 3D RIGHT - video content represents right-eye view
• 3D SBS - video contains multiplexed side-by-side 3D
• FAKE SBS - turns 2D content into fake side-by-side 3D

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MULTIVIEW

If the media contains four different images laid out in quadrants, set the MULTIVIEW field to the QUAD value.

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VR 360

Use the VR 360 field to describe 360 video content with the following values:

• EQUIRECT - 360 video is stored in equirectangular mode
• CUBEMAP - 360 video is stored in a cubemap mode

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ORIENTATION

This field is used to describe the orientation of the video content when shooting in portrait mode or upside-down. Set the ORIENTATION to one of the following values:

• 90 CW - the camera is rotated 90 degrees clockwise
• 90 CCW - the camera is rotated 90 degrees counterclockwise
• 180 - the camera is rotated 180 degrees (upside-down)

When the orientation is set correctly in the MEDIA toolbar, you can rotate the active View using the VIEW Toolbar.

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TC TRACK

When using LTC timecode recorded as an audio track in the media file, use the TC TRACK field to select the correct audio track number to be interpreted as timecode and muted to avoid unwanted audio noise during the playback.

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ZOOM Menu

The ZOOM toolbar lets you ZOOM the Views IN or OUT and offset. This only affects the operator monitor (GUI). While in the DRAW or EDIT mode of the GARBAGE MATTE, the ZOOM value is automatically set to 75%.

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EDIT Room

QTAKE features an integrated single-track non-linear editor. In the EDIT room, DUAL View is used to display PLAYER (left side) and RECORDER (right side) monitors, as in standard editing applications. The visual timeline displays thumbnails for each clip of the sequence. When you select the timeline clip, its data is displayed in the CLIP toolbar and the SLIDER bar shows the partial length of the selected clip in the sequence. Playback commands now apply just to the part of the sequence marked by the current sequence clip. To quickly jump between clips in the sequence use the PREV. and NEXT buttons (or Up and Down arrows on the keyboard). If you want to play the whole sequence, just click on View 2 and press the PLAY button.

When selecting a clip in the visual timeline only that clip is selected. To select the whole sequence click on View 2.

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SEQUENCE Menu

Use this menu to create a new sequence and browse through existing sequences.

DUPLICATE SEQUENCE

A sequence can be duplicated by clicking the DUPLICATE button, which is located in the OPEN SEQUENCE window. This is useful when creating another version of the cut.

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EDIT Menu

All tools required to create a sequence of clips are located in the EDIT Menu. The editing process begins by placing clips into the sequence.

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INSERT

The sequence editing process consists of a few easy steps:

1. Load the clip into View 1
2. Mark IN and OUT points for the clip
3. Press the INSERT button

The clip is appended to the current sequence and the new thumbnail appears in the timeline. If you want to insert the clip to a specific place in the sequence, select any thumbnail and the new clip will be inserted in front of the selected timeline clip.

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OVERWRITE & REPLACE

If you want to change the sequence clip, perform step 3 with the OVER or REPLACE button.

If you want to keep the length of the sequence clip press the REPLACE button. Only IN mark is used from the source clip and the new OUT mark is calculated according to the selected sequence clip.

If you want to change the clip without keeping the destination length, press the OVER button.

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SPLITTING CLIPS

You can SPLIT clips to create two separate clips. The location of the SPLIT is determined by the playhead.

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REORDERING CLIPS

You can easily reorder clips in the sequence by selecting the clip on the timeline and pressing the LEFT or RIGHT button to move the clip accordingly.

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DELETING CLIPS

Select the sequence clip on the timeline and press the DELETE button to remove it.

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CHANGING THE CLIP SPEED

Inserted clip retains its speed. If you want to change the speed of the sequence clip, just type the new CAMERA SPEED value inside the CONTROL toolbar.

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TRIMMING

You can fine-tune your sequence by trimming the clips on the timeline. Trimming is the process of adjusting the start and the end of the clip by adding or removing frames from each side. By clicking the TRIM side of the EDIT/TRIM segmented button, the EDIT toolbar changes the layout according to context. In QTAKE you can trim either clip or cut. Trim is applied by switching back to EDIT Mode.

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TRIM CLIP

When the single clip is selected you will see its starting frame in View 1 and its ending frame in View 2. Yellow brackets appear over the timeline thumbnail. Use numeric L-TRIM and R-TRIM buttons to add or subtract frames from the selected side. The amount of trim is displayed in frame units. You can also perform the trim by dragging the video inside Views.

Press the LOCK button to keep the length of the clip - if you add a few frames to the end of the clip, the same amount of frames is subtracted from the beginning.

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TRIM CUT

Select the next or previous clip to activate Cut Trimming. Yellow brackets are placed between selected clips. Now you can adjust the ending frame of the left clip and the starting frame of the right clip. Press the LOCK button to keep the summary length of two clips.

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EDIT 3D Menu

When shooting stereoscopic projects, you can use the EDIT 3D toolbar to play back the stereoscopic sequence.

After editing a single camera (left eye) in classic edit mode, press the 3D PLAYBACK button to enter dual camera playback. Entering this mode will generate a sequence for the right eye. You can use all playback commands in 3D PLAYBACK mode.

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COMPOSITE Room

You can perform real-time overlay of the two video sources in the COMP room. View 2 is the background layer and View 1 is the foreground layer. Use the PATCH selector to define the video source for each View/Layer. You can use any combination of LIVE and DISK sources.

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COMPOSITE Menu

The COMP toolbar lets you organize your composites by allowing you to create NEW ones and load previously created ones. Any View effects and BLEND, CHROMA KEY, and WIPE settings are saved with the current composite. You can COPY the current settings and PASTE them into a new composite.

The BROWSE button also lets you DELETE old composites. When recording a foreground in View 1 but monitoring the result in View 2 you can enable OSD FROM View 1 to see relevant information in the composite View.

There are 4 menus with effects to create composites.

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RECORD COMPOSITE

Composite is a non-destructive blend of foreground and background, allowing you to adjust the offsets or blend modes later, during the playback. In case there is a need to “flatten” the composition and export a single composited clip, you can use the RENDER function in the top bar. However, sometimes it is required to have the flattened composite available immediately. In that case, you can turn on the RECORD option available in the COMP toolbar after clicking the double arrow (»). This will record the output of the live composite into a new clip. To adjust recording or rendering options, click the SETTINGS button located next to the record option. The recording of a composite will start and stop at the same time regular recording is started and stopped if triggered from the COMP room. It is not possible to adjust the parameters of the recorded composite, but each unflattened composite can be stored, and if there is any change needed, layers can be adjusted and the composite can be re-rendered into a new clip.

STORING COMPOSITES
Composite is automatically stored. Create a new composite using the COMP toolbar to avoid overwriting previously stored one.

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BLEND Menu

BLEND combines foreground and background layers with Photoshop-like blending modes: NORMAL, SCREEN, ADD, OVERLAY, MULTIPLY, DIFFERENCE, MIN and MAX. The OPACITY slider, located in the BLEND toolbar, controls the blend amount. By default, View 1 is the foreground image, and View 2 is the background. Toggle the SWAP button to swap foreground and background Views. You can set the OPACITY also to AUTO mode allowing transitions without interaction. See the USER INTERFACE section for more information about automatic sliders.

ALPHA CHANNEL

When compositing a movie file on top of the background, you can use a video codec that includes the ALPHA channel. Alpha channel is used to store transparency for each pixel, so you don’t need to use keying when compositing.

PRORES 4444

One of the high-quality video codecs that support alpha channel is Apple ProRes 4444. It is used when almost uncompressed quality is required but with much lower file size.

HEVC WITH ALPHA

When the lowest possible file size is required, your video collaborators can export movie files using HEVC codec with alpha channel. This way they can deliver any foreground video content (such as an animated logo) over the internet and you can import it directly into QTAKE to create fast composites.

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KEY Menu

You can perform real-time chroma or luma keying with QTAKE with the KEY toolbar. Select the foreground source in View 1 and the background in View 2.

Step-by-step CHROMA key:

1. Select CHROMA as your key mode.
2. Use the COLOR picker or the HUE input field to select desired key color.
3. Press the ALPHA button for visual matte control (dark areas represent transparent parts of the image).
4. Adjust WIDE and PUNCH attributes to fine tune your ALPHA mask.
5. Adjust BLACK and WHITE values to widen fully transparent and fully opaque areas.
6. Press the ALPHA button again to display the final composite.

The DESPILL value seldom needs to be adjusted. If you notice discoloration around the edges of your keyed subject decreasing de-spill can rectify the result.

CHROMA+Z KEY

In addition to the regular chroma key, when working with an external CGI source, you can use the depth channel captured as an alpha component of the RGBA input. This function allows advanced composition where certain elements of the CGI background appear in front of the live action.

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WIPE Menu

WIPE transition is used to perform split-screen composite. Follow the next steps:

1. Select the WIPE button.
2. Slide the AMOUNT until you reach the split point you want.
3. Slide the ANGLE to adjust the angle of the split.
4. Slide the SMOOTH to set the amount of split-line feather.
5. Use the SWAP button to swap foreground and background images.

All the sliders in the WIPE toolbar can be set to AUTO mode to allow adjustments without interaction. See the USER INTERFACE section for more information about AUTO SLIDERs.

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STEREO Menu

This menu is used to create a stereoscopic composite. View 1 is used as a left eye and View 2 is used as a right eye by default, but you can change this using the SWAP button.

The following stereoscopic multiplex modes are available:

• ANAGLYPH
• LINE BY LINE
• SIDE BY SIDE
• TOP BOTTOM
• DLP
• ANAGLYPH BLACK AND WHITE

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CGI Menu

The CGI module is used for real-time 3D scene rendering. Instead of a pre-shot or pre-rendered background, you can now import a 3D scene into QTAKE and use a virtual camera to change the viewing angle.

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IMPORT CGI SCENE

QTAKE supports 3D scenes saved in Collada (.dae) format. Drag your Collada file to the QTAKE dock icon to import it. The 3D scene will be logged into the QTAKE database, so you can load it into any View just like any other clip.

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CGI CONTROL

All 3D scene controls are located in the CGI toolbar. They will allow you to adjust various parameters of the scene cameras. All settings will be automatically stored for each camera.

You can select active camera using the CAMERA field.

FREE CAMERA
The free camera lets you freely position a virtual camera.

MOCO CAMERA
MoCo camera is used to position a camera by using external positioning data.

SCENE CAMERA
You can also select any camera imported with the scene.

Using the VIEW field, you can select an orthogonal view of your scene. Options include LEFT, RIGHT, TOP, BOTTOM, FRONT and BACK Views. Each View can be moved and zoomed independently. When using the MOCO camera, this field will change its function to DATA SOURCE.

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NAVIGATING 3D SCENE

If there is any animation included in the 3D scene, you can use PLAYBACK functions, like with regular clips. However, instead of scrubbing, the 3D scene will change the camera position when dragging the mouse in the View. Dragging the mouse will orbit around the target point, which is placed in the center of the scene by default.

Here is the list of 3D navigation controls using a mouse and keyboard.

MOUSE DRAG
Rotates camera around target point (orbiting).

CTRL + MOUSE DRAG
Moves camera and target point in XZ axis (left/right and forward/backward).

CMD + MOUSE DRAG
Moves camera and target point in Y axis (up/down).

MOUSE WHEEL
Changes camera distance from the target point.

CTRL + MOUSE WHEEL
Changes camera field of View (zoom).

CMD + MOUSE WHEEL
Changes camera roll (rotates around camera optical axis).

ALT + ANY OF ABOVE
Performs the same action with higher precision.

While dragging a mouse in the View to change a camera position, the TARGET point and floor GRID will be displayed automatically.

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MOTION CONTROL

In most cases, you will use a CGI background with external positioning data. A live camera can be placed on the motion control rig or use various real-time tracking systems to determine its position and rotation. QTAKE can receive positioning data stream and apply it to the virtual camera. This will make your background move the same way as your live (or playback) View.

SDI POSITIONING DATA
If present, external positioning data will be parsed from ancillary space in the SDI signal.

MARC ROBERTS MOTION CONTROL
Using a network connection you can read positioning data from the FLAIR software used to control an MRMC rig. To enable data from this device, use this preference:

_Rig Type = MARK ROBERTS

CMOCOS MOTION CONTROL
You can also use UDP data from a CMOCOS motion control rig to control your virtual camera. To enable data from this device, use this preference:

Rig Type = C-MOCOS

Using the DATA SOURCE field you can select which View is the source of positioning data for your 3D scene.

Using the segmented button you can select which submenu to show. Options include ROTATE, MOVE, TARGET, LENS, 3D and MOCO submenus.

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ROTATE
In this submenu you can adjust PAN, TILT, and ROLL of the active camera. Unlike dragging a mouse in the View to orbit a camera around the target point, this control will do nodal rotation around the center of the camera. That means your target point will be moved.

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MOVE
Using this submenu you can move a camera to X-axis (left/right), Y-axis (up/down), and Z-axis (forward/backward). This will also move the camera target point.

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TARGET
Use this submenu to move the camera target independently of the camera itself.

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LENS
This submenu contains controls of the Field Of View (F.O.V.), FOCUS distance, and TARGET DISTANCE.

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3D
Each virtual camera can be used as a stereographic camera. In the 3D submenu you can control INTERAXIAL distance and CONVERGENCE. Using CONVERGENCE MODE you can select to use PARALLEL mode or MANUAL convergence adjustment. If you want to use automatic convergence, select FOLLOW FOCUS mode or FOLLOW target mode.

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MOCO
Use this submenu to match the scale of your virtual scene to your external positioning data. QTAKE uses centimeters as the scene translation units and degrees as rotation units.

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STUDIO Room

The studio room is used to perform live editing. When shooting multiple cameras, you will be able to create the sequence simply by switching between four inputs during recording. QTAKE will record all four inputs as usual, but in addition, it will record information about each cut.

On the right side, you will see the additional View that represents your program output. Under the Views, there is a timeline, with four tracks. Each track represents one input. Selected input for each segment will be highlighted. The program output is not recorded - it is generated on the fly. This makes it easy to adjust your sequence after recording.

Why can’t I open STUDIO ROOM?
STUDIO ROOM is only available in HDx4 and HDX8 QTAKE versions. If the STUDIO room button is greyed out, long-click QUIT button to switch to HDx4 or HDx8 QTAKE version.

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STUDIO Menu

All buttons needed to control studio-style live editing are located in the STUDIO toolbar.

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LIVE EDITING

Start making your live cut by pressing any RECORD button. In this room, RECORD SYNC, CLIP SYNC, and PLAY SYNC are enabled automatically and can not be turned off.

There are two ways of performing the edit during recording:

FOLLOW ACTIVE VIEW

Turn on the FOLLOW VIEW option to make cuts by selecting active View. This is a more intuitive way of making cuts during recording, but note that during playback you won’t be able to select active View, because it will follow the timeline.

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USE INPUT SELECTOR

Turn off the FOLLOW VIEW option to make live cuts using the dedicated segmented button. The selected View will be marked by a thick yellow border.

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DISK EDITING

After a recording is finished, you can patch Views to DISK (or have it patched automatically using the POST-REC ACTION option). Timeline highlights will change to green color. You can now use playback functions, just like with any other clip. The green playhead line will show the current position in the timeline. Use the CUT buttons to navigate between the cut points. Program output will always show the selected track.

To change the active track for any segment, just double-click the timeline track you wish to select.

Why can’t I select active View?
If the View is patched to DISK, you need to turn off the FOLLOW VIEW option to select the View that is not presenting an active track for the current timeline segment.

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TRIM MODE

If you wish to modify your cut points, press the TRIM button. Timeline highlights will change to yellow color. The yellow trim head will appear in the timeline.

You can modify the selected cut by dragging the trim head. You can drag the trim head during the playback, cut changes will be performed immediately without stopping the playback. In case the playback is stopped, the playhead will follow the trim head to show you the current frame.

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OVERTRIM

Note that in the regular trim mode, you won’t be able to drag the cut point beyond the adjacent cut, because this would overwrite the next segment of the timeline. If you still want to do this, you need to turn on the OVERTRIM option.

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EXPORT EDL

Similar to a regular EDIT sequence, the STUDIO sequence can also be exported to EDL. Pressing the EDL button will pop up the dialog window, where you can select which filenames to use for clips in the sequence.

---

SEND TO SEQUENCE

You can send the live cut timeline to the EDIT room for further refinement using the SEND TO SEQUENCE button.

---

GPU OUT

To send the View content to GPU OUTPUT, press the GPU OUT button. In case the GPU OUT button is not highlighted, you will see the program output only on the QTAKE UI screen. Currently, there is no way to send the program View to the video card output.

---

QTAKE Preferences

This section describes each of QTAKE’s preferences. Preferences control various aspects of QTAKE operation and are independent of the user or project.

GPU GROUP

Enable GPU Output

Set this preference to NO to disable graphics card output. If you have multiple monitors connected to your computer, the first one will be used for QTAKE GUI and the others will not be used.

Full Range Video

Set this preference to YES to enable Full Range video processing. The default value (NO) uses SMPTE legal levels, which will clip the super-black and super-white values.

Legal Range GPU Output

Set this preference to YES to output legal range RGB through the GPU output.

QOD GPU Vendor

Sets the manufacturer of your GPU. AUTO means automatic detection.

Use GPU For RED RAW Decompression

By default, the GPU is used solely for debayering RED RAW media files, while the CPU is responsible for decompression. Set this preference to YES to utilize the GPU for both debayering and decompression of RED RAW media files.

PROXY GROUP

Enable Proxy

Set this preference to YES to enable simultaneous recording of the processed proxy media, ready for streaming or uploading over the QTAKE Server app.

Proxy Processed Image

This preference controls whether clip effects are “burned-in” on the recorded proxies. Setting this preference to NO will disable streaming of the playback video.

Proxy Only Audio Channel1

Set this to YES to record only the first audio channel to proxy media.

Proxy OSD

Set to NO to disable OSD burn-in on proxies.

Status In Proxy OSD

Set to YES to burn in the LIVE, DISK, REC, PLAY OSD status on STREAM proxies.

Proxy Watermark

Set to YES to burn in the STREAM watermark on recorded proxies.

Proxy FPS Limit

Limits encoder FPS to avoid performance issues on slower machines. The default value is 30.

Proxy Encoder Preset

Software encoder preset, adjustable from 0 to 5. Lower values mean lower latency, but also lower quality. The default value is 1.

Proxy Quality Offset

Encoder quality offset, adjustable from 0 to 10. Higher values mean higher quality, but also higher bandwidth. Offset is equally applied to all proxy quality UI settings from Ultra Low to Ultra High. The default value is 0.

Upload Proxy During Recording

QTAKE will continuously upload segments of the proxy files to QTAKE Server while recording. Set to NO to disable upload while recording. QTAKE will still upload the finished clip to QTAKE Server after a recording has ended.

Transcode On Proxy Import

This preference provides automatic transcoding of Proxy files to ProRes to allow variable speed playback. New media will be accessible under the Proxy Transcoded type.

Pause Proxy Transcoding

Transcoding can be paused on recording or playback using this preference to avoid the risk of dropping frames due to high CPU usage.

Stream Live Audio Control

Use this preference to enable LIVE AUDIO control for each stream client.

Local Stream Packet Loss Correction

This preference provides automatic resending of lost packets to significantly improve local streaming on poor-quality networks.

Cloud Stream Packet Loss Correction

This preference provides automatic resending of lost packets to significantly improve cloud streaming on poor-quality networks.

Stream Packet Size

Use this preference to limit the stream packet size if your network rejects default size packets. The default value is 1400.

Stream DSCP Value

Use this preference to set the Differentiated Services Code Point flag to streaming packets.

Input Stream Mode

This preference is used to adjust input stream buffering. More info is in the STREAMING FROM QTAKE TO QTAKE section.

Cloud Stream Default Mode

Select the default mode of QTAKE Cloud Stream to Relay or Direct.

Require Cloud Stream EndToEnd Encryption

Set this preference to YES to allow only cloud stream connections compatible with end-to-end encryption.

VIDEO BOARD GROUP

Videoboard Manufacturer

If you have multiple video cards from different manufacturers connected you can explicitly state which cards QTAKE should use. The options are AJA, Blackmagic Design, Deltacast, or AUTO (manufacturer will be determined automatically according to first video board found).

Two Boards For Dual IO

Only boards from one manufacturer can be combined in QTAKE. Using the same model of the board is recommended. You will find more information on supported cards and manufacturers in Video Cards section. This preference manages how multiple video boards are configured.

In general, the same board will be configured to use both inputs and outputs if this preference is set to YES. If the preference is set to NO, first board will be used for inputs and second board for outputs.

For example, in case of two AJA Io4K video boards in QTAKE HDx4 version:

• Board #1 - 4 inputs and board #2 - 4 processed outputs if you set the preference to NO.
• Board #1 - 2 inputs with 2 processed outputs and board #2 - 2 inputs with 2 processed outputs, if you set the preference to YES.

• Multi-channel Blackmagic Design boards register in macOS as separate boards per each channel.

Force Board Order

Forces the order of used video boards based on the serial number. This is important in order to keep QTAKE inputs and outputs consistently assigned to same boards after restart of the computer.

Signal Detection Retry

Sometimes it takes longer than one frame for AJA cards to adapt to a new input format. A side effect of this can be corrupted audio. If you experience such issues, set this preference to 25.

Reject Wrong Video Format

Set this to NO to allow the input of a non-compliant signal. Note, however, that this solution should only be considered as a last resort due to its potential for unstable performance. We recommend re-clocking your signal to make it recognized by hardware.

Autorecording Start Threshold

Set this to the number of frames by which you wish to delay the recording start. Can add robustness in bad signal conditions.

Autorecording Stop Threshold

Set this to the number of frames by which you wish to delay the recording stop. Can add robustness in bad signal conditions.

Autorecording Stop Adds SubClip

When using subclips, set to YES to add a subclip at the end of the recording if the camera is set to auto-record.

SDI OUTPUT GROUP

Constant Playout Mode

Set this preference to YES for simultaneous input and output with compatible cards. This mode enables processed live output.

Enable Video Output

Set to YES to enable video outputs. In case this is set to NO, a video board outputs only live passthrough and all other preferences affecting Video Output will be ignored.

Enable TC Output

Set to YES to enable timecode output. This only applies to compatible video cards.

Use Free Genlock For Playback

Set to YES to switch to free Genlock automatically when in DISK mode. This will keep stable SDI output if the camera is disconnected and you have no external reference signal. This setting is ignored when the Constant Playout Mode preference is set to YES.

Clip Based Video Output Format

When mixing various video formats in a single project, you can set this option to YES to enable automatic switching of output video format based on clip resolution and timebase. If set to NO, QTAKE will scale all clips to match the SDI output resolution, however, it will not interpolate FPS to match the output. This setting is ignored when the Constant Playout Mode preference is set to YES.

Optimize PSF Input

Set it to YES to improve performance with PSF format input when using AJA video cards.

LTC Output Source

Sets the source of the analog LTC output based on the video output of the video card.

MUXER GROUP

Show Demuxed Thumbnails

Set to YES if you want to display demuxed thumbnails of the muxed clips.

Demux Video Output

Set to YES if you want to output a demuxed image from the video board output.

Demux Proxy

Set to YES to record demuxed proxies.

Use PreMuxed Input As Dual Cam

Set to YES to enable the special mode of QTAKE HDx1 using premuxed input for dual camera ingest.

Demux ScreenShot

Set to YES to demux screenshots of the SBS 3D muxed clips.

FILE GROUP

Capture Mode Bit Depth

Set the capture mode to 8bit, 10bit, or 12bit. Setting this preference to 10bit or 12bit will also set the internal processing pipeline to floating point precision.

Audio File Format

Sets the audio recording format. AUTO will set the recording format to match the input audio. 16bit, 24bit, and 32bit will record audio as integers at the selected bit-depth. 32bit Float will record audio as 32bit floating point values.

Ignore External Timecode

Set to YES to override the embedded timecode. The system clock is used instead.

Use Internal ProRes Encoder

Set to YES to handle Apple ProRes encoding using an internal library. In some cases, this may be a bit faster than using an external process.

Import CPD From ProRes

Set to YES to import camera positioning data from imported ProRes files.

ScreenShot File Format

Selects file format for screenshots. Options are JPEG, PNG, BMP, JPEG 2000, GIF, and TIFF.

ScreenShot Compression Quality

Set JPEG compression quality for Screenshots in the range of 1 to 10. The lower number means lower quality. The default value is 10.

ScreenShot Video Range

Set this preference to define a video range of the screenshot images. The following options are available: Auto, Legal, or Full Range.

LUT Interpolation Method

Set this preference to Trilinear (faster), or Tetrahedral (higher quality).

PLAYBACK GROUP

Enable Instant Playback

Set to YES to enable Instant Playback feature.

PreRoll And PostRoll For PlaySync

Set to YES to enable pre-roll and post-roll for Play Synced clips. This will allow you to play back clips with various duration in sync.

Use Audio For Varispeed

Set to YES to allow vari-speed audio from 50% to 200% clip speed.

Enable Play Sync Auto Mute

QTAKE will mute Views 2-4 when playing back clips with play sync enabled to avoid the same audio playing from multiple Views. Set this to NO to disable this feature.

Set Play Sync Offset By TC

Set to YES if you want QTAKE to determine PLAY SYNC OFFSET using the timecode of the clips.

Enable Caching

Set to YES if you want QTAKE to cache RAW frames for real-time playback.

Cache Size Per Clip MB

Use this preference to set the cache size for RAW playback based on available memory in your system. The default value is 1000.

Min Cache Length SEC

Set the minimal RAW playback cache duration.

RAW Auto Quality

Set to YES if you want QTAKE to determine the quality of RAW debayering to provide real-time playback based on your system performance.

GUI GROUP

Enable Audio Waveform

Set to YES to enable waveform display under Views.

Force Plus3D From View

With muxed clips, PLUS 3D View is rendered using Active View. Use this preference to force it to a specific View.

Use Film Style Scene Sorting

Set to YES to ignore letters before numbers when sorting Scene names. For example 33, A33, 34.

OSD Speed In FPS

Set to YES if you want to display OSD speed in FPS, instead of percentage.

Imperial Distance Units

Will convert values (such as focus distance) to imperial units.

Logo Opacity

Use this preference to set the NO VIDEO INPUT screen logo opacity. The default value is 0.25.

GUI Background Red / Green / Blue

Set each color channel to a value of 0.0 - 1.0 to set the custom background color. The default value is 0.12 for each channel.

Multiclip Metadata Toolbars Mode

This preference is used to make CLIP, DATA, and CONTROL toolbars work with multi-clip selection.

Limit Cursor To GUI Screen

Set to YES to limit cursor movement to GUI screen and prevent mouse pointer on the GPU OUT.

GUI Screen Blocks Count

Adjusts the number of menu “blocks” on a single horizontal row. The default value is 4 and it can be set to up to 8 to support ultra widescreen displays. This preference will effectively scale down the GUI to fit more content.

GUI Menu Blocks Limit

Adjusts the number of “blocks” the menu bars are allowed to occupy. The rest of the horizontal space will be used by side windows such as the LIST, FX, and META. The default value is 4, it can be set to up to 8.

Ovide Smart Mode

Use the following values if using OVIDE hardware for QTAKE: SmartAssist HD2, SmartAssist 4, SmartAssist Evo 2, and SmartAssist Evo 4.

On Screen Controls

Enables playback control overlay on the Views. The following options are available: Off, Disk only, Live & Disk.

Kiosk Mode

QTAKE runs in kiosk mode by default. Set this preference to NO to disable kiosk mode. This will allow you to Cmd-Tab between running applications or display a window of another application in front of QTAKE UI.

Enable FX History

Enables CLIP FX history, where each change is saved in chronological order allowing you to go undo changes or revert to a previous state.

Default Viewer Background

The Viewer background can be set to Black or Clear, by default.

AUTOLOAD GROUP

AutoLoad Project

Set to YES to automatically load the user and project after starting QTAKE.

Autostart Stream

Set to YES to enable the Stream function automatically after starting QTAKE.

RECORD GROUP

Prevent Media Drive Sleep

Prevent Media Drive Sleep by recording a small file for each specified number of seconds. Set to zero to disable.

Stop Recording On System Slow

Set to NO to allow recording to continue even if QTAKE is dropping frames.

Enable Rehearsal Warning

Allows to control whether the WARNING about clip being marked as REHEARSAL and camera was recording is displayed after recording is finished or not. If the preference is set to YES, AUTO REC is set to SDI Flag and the clip is marked as REHEARSAL, after the recording is finished warning will pop up. This is also triggered when a recorded clip is marked as REHEARSAL.

EXTERNAL GROUP

Use Videohub

Set to YES to enable control of the BMD Videohub or AJA Kumo SDI routers.

Use Avid Surface

Set this to YES to enable QTAKE control using the Avid Artist Transport surface.

Use Tangent Surface

Set this preference to YES to enable QTAKE control using Tangent Devices element-Tk and element-Mf surfaces.

Enable Bonjour Services

QTAKE advertises its presence on the local network via Bonjour service. This allows QTAKE Monitor clients to connect without knowing the IP address of the QTAKE machine. Set to NO to disable the Bonjour service and use static IP addresses instead.

HIT GROUP

Use HIT Per Frame

Set to YES to enable recording of HIT values frame by frame. This feature also provides playback of 3D clips with HIT value changing over time.

Serial Type

Set the serial port protocol to one of the following options: Element Technica or C-Motion.

Serial Port X

Set serial port numbers when using the HIT controller from Element Technica or C-Motion.

RIG GROUP

Rig Type

Set UDP communications protocol. The following options are available: 3ality SIP, Stereolabs Pure, MRMC Motion Control, CMOCOS Motion Control, MoSys Star Tracker, Stype Tracker, and Fusion 3D.

Rig Port X

Set UDP port numbers to connect to 3ality SIP, Stereolabs Pure, MRMC Motion Control, CMOCOS Motion Control, MoSys Star Tracker, Stype Tracker, and Fusion 3D rig.

Rig Host X

Set the host IP address to connect to external rigs which require it.

LIVEGRADE GROUP

Enable QTAKE Grade Server

Set this preference to YES to enable external apps to send the LUT & CDL to QTAKE using the designated API.

QTAKE Grade Server Port

Defines port number for QTAKE LUT & CDL server. The default port is 6670.

LiveGrade Host X / Port X

Defines address and port number for Pomfort LiveGrade hosts. These preferences are used to receive live clip CDL values from the DIT. This is an old and deprecated way of interfacing with the Pomfort Live Grade app. Use the new QTAKE Grade Server instead.

DIAGNOSTICS GROUP

Report Main Thread Blocking

This preference is used to test the performance of QTAKE and send a report if the user interface is blocked.

---

Appendix A - QTAKE 3D Control

ABOUT

The QTAKE 3D Control application for the iPhone and iPad functions as a remote interface to adjust H.I.T. (Horizontal image translation) or stereoscopic post-convergence from an iPhone or iPad. The application is available to download for free from the Apple App Store.

---

SETUP

The QTAKE 3D Control application uses bonjour network discovery to find QTAKE hosts on the network. That means that both the Mac running QTAKE and the iPad or iPhone running QTAKE 3D Control needs to be connected to the same network. To enable the Bonjour discovery of the QTAKE host from the QTAKE 3D Control application you will need to enable STREAM in the FILE room.

Launch QTAKE 3D Control on the iPad or iPhone, and a window listing available QTAKE hosts will appear. Tap the name to connect to that QTAKE host.

QTAKE 3D Control will now display the text “Waiting for approval…”

When an iPad or iPhone attempts to connect one of the 8 buttons in the STREAM toolbar will become active with the text 3D and the connection can be APPROVED by clicking on it. Long-clicking the STREAM button will open the STREAM SETUP window. See the STREAM Menu section for more information.

---

USING QTAKE 3D Control

H.I.T.

When the QTAKE 3D Control has been approved it will present one or two scaled sliders depending on what Views have been assigned in the STREAM SETUP window. Each slider controls the H.I.T. of one stereoscopic rig. By dragging up or down on the slider you can move the two sides of the image in the View closer together or further apart.

Double-tapping the slider will reset it to 0.00 and Two-finger tapping on the slider will lock the slider.

The + (plus) and - (minus) buttons allow you to increment or decrement the H.I.T. value step by step.

The buttons along the side of the slider allow you to store (by holding the button) and recall (by pressing the button) H.I.T. values.

PLUS 3D

The 3D icon on the bottom left of the app lets you control the various 3D analysis modes of the 3D VIEW toolbar in QTAKE. The display modes available are NONE, ANAGLYPH, DIFFERENCE, INTERLACE, BOX BLEND, DISSOLVE, WIGGLE, and DUAL. See the section on 3D VIEW for more details about the display modes.

SETTINGS

The H.I.T. SETTINGS View lets you control various aspects of the app’s behavior. You can enable or disable the PRESETS, + (plus), and - (minus) buttons in the H.I.T. View via the Enable Side Buttons control. You can switch between PERCENTAGE and PIXEL units for the sliders, choose how much to increment per button press, and adjust the Pull Mode, Duration, and Speed used when tapping a PRESET button.

---

Acknowledgements

Portions of QTAKE Software may be using copyrighted third-party material. The following list includes the general license agreements that may cover multiple packages, and the agreements specific to those packages.

ACES

Academy Color Encoding System (ACES) software and tools are provided by the Academy under the following terms and conditions: A worldwide, royalty-free, non-exclusive right to copy, modify, create derivatives, and use, in source and binary forms, is hereby granted, subject to acceptance of this license. Copyright © 2015 Academy of Motion Picture Arts and Sciences (A.M.P.A.S.). Portions contributed by others as indicated. All rights reserved. Performance of any of the aforementioned acts indicates acceptance to be bound by the following terms and conditions: Copies of source code, in whole or in part, must retain the above copyright notice, this list of conditions, and the Disclaimer of Warranty. Use in binary form must retain the above copyright notice, this list of conditions, and the Disclaimer of Warranty in the documentation and/or other materials provided with the distribution. Nothing in this license shall be deemed to grant any rights to trademarks, copyrights, patents, trade secrets, or any other intellectual property of A.M.P.A.S. or any contributors, except as expressly stated herein. Neither the name “A.M.P.A.S.” nor the name of any other contributors to this software may be used to endorse or promote products derivative of or based on this software without express prior written permission of A.M.P.A.S. or the contributors, as appropriate. This license shall be construed pursuant to the laws of the State of California, and any disputes related thereto shall be subject to the jurisdiction of the courts therein. Disclaimer of Warranty: THIS SOFTWARE IS PROVIDED BY A.M.P.A.S. AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT ARE DISCLAIMED. IN NO EVENT SHALL A.M.P.A.S., OR ANY CONTRIBUTORS OR DISTRIBUTORS, BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, RESITUTIONARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. WITHOUT LIMITING THE GENERALITY OF THE FOREGOING, THE ACADEMY SPECIFICALLY DISCLAIMS ANY REPRESENTATIONS OR WARRANTIES WHATSOEVER RELATED TO PATENT OR OTHER INTELLECTUAL PROPERTY RIGHTS IN THE ACADEMY COLOR ENCODING SYSTEM, OR APPLICATIONS THEREOF, HELD BY PARTIES OTHER THAN A.M.P.A.S.,WHETHER DISCLOSED OR UNDISCLOSED.

Boost

Boost Software License - Version 1.0 - August 17th, 2003

Permission is hereby granted, free of charge, to any person or organization obtaining a copy of the software and accompanying documentation covered by this license (the “Software”) to use, reproduce, display, distribute, execute, and transmit the Software, and to prepare derivative works of the Software, and to permit third-parties to whom the Software is furnished to do so, all subject to the following:

The copyright notices in the Software and this entire statement, including the above license grant, this restriction and the following disclaimer, must be included in all copies of the Software, in whole or in part, and all derivative works of the Software, unless such copies or derivative works are solely in the form of machine-executable object code generated by a source language processor.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, TITLE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE COPYRIGHT HOLDERS OR ANYONE DISTRIBUTING THE SOFTWARE BE LIABLE FOR ANY DAMAGES OR OTHER LIABILITY, WHETHER IN CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

CocoaAsyncSocket

This library is in the public domain. However, not all organizations are allowed to use such a license. For example, Germany doesn’t recognize the Public Domain and one is not allowed to use libraries under such license (or similar).

Thus, the library is now dual licensed, and one is allowed to choose which license they would like to use.

################################################## License Option #1 : ##################################################

Public Domain

################################################## License Option #2 : ##################################################

Software License Agreement (BSD License)

Copyright (c) 2017, Deusty, LLC All rights reserved.

Redistribution and use of this software in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Neither the name of Deusty LLC nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission of Deusty LLC.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

CocoaLumberJack

BSD 3-Clause License

Copyright (c) 2010-2022, Deusty, LLC All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

3. Neither the name of Deusty nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission of Deusty, LLC.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

###CocoaLUT The MIT License (MIT)

Copyright (c) 2014 Wil Gieseler wil@wilgieseler.com & Greg Cotten greg@gregcotten.com

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Apple Core Audio Utility Classes

Disclaimer: IMPORTANT: This Apple software is supplied to you by Apple Inc. (“Apple”) in consideration of your agreement to the following terms, and your use, installation, modification or redistribution of this Apple software constitutes acceptance of these terms. If you do not agree with these terms, please do not use, install, modify or redistribute this Apple software.

In consideration of your agreement to abide by the following terms, and subject to these terms, Apple grants you a personal, non-exclusive license, under Apple’s copyrights in this original Apple software (the “Apple Software”), to use, reproduce, modify and redistribute the Apple Software, with or without modifications, in source and/or binary forms; provided that if you redistribute the Apple Software in its entirety and without modifications, you must retain this notice and the following text and disclaimers in all such redistributions of the Apple Software. Neither the name, trademarks, service marks or logos of Apple Inc. may be used to endorse or promote products derived from the Apple Software without specific prior written permission from Apple. Except as expressly stated in this notice, no other rights or licenses, express or implied, are granted by Apple herein, including but not limited to any patent rights that may be infringed by your derivative works or by other works in which the Apple Software may be incorporated.

The Apple Software is provided by Apple on an “AS IS” basis. APPLE MAKES NO WARRANTIES, EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THE APPLE SOFTWARE OR ITS USE AND OPERATION ALONE OR IN COMBINATION WITH YOUR PRODUCTS.

IN NO EVENT SHALL APPLE BE LIABLE FOR ANY SPECIAL, INDIRECT, INCIDENTAL OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) ARISING IN ANY WAY OUT OF THE USE, REPRODUCTION, MODIFICATION AND/OR DISTRIBUTION OF THE APPLE SOFTWARE, HOWEVER CAUSED AND WHETHER UNDER THEORY OF CONTRACT, TORT (INCLUDING NEGLIGENCE), STRICT LIABILITY OR OTHERWISE, EVEN IF APPLE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Copyright (C) 2013 Apple Inc. All Rights Reserved.

GNU LGPL v2.1

Version 2.1, February 1999 Copyright (C) 1991, 1999 Free Software Foundation, Inc. 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed.

[This is the first released version of the Lesser GPL. It also counts as the successor of the GNU Library Public License, version 2, hence the version number 2.1.]

Preamble

The licenses for most software are designed to take away your freedom to share and change it. By contrast, the GNU General Public Licenses are intended to guarantee your freedom to share and change free software–to make sure the software is free for all its users.

This license, the Lesser General Public License, applies to some specially designated software packages–typically libraries–of the Free Software Foundation and other authors who decide to use it. You can use it too, but we suggest you first think carefully about whether this license or the ordinary General Public License is the better strategy to use in any particular case, based on the explanations below.

When we speak of free software, we are referring to freedom of use, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for this service if you wish); that you receive source code or can get it if you want it; that you can change the software and use pieces of it in new free programs; and that you are informed that you can do these things.

To protect your rights, we need to make restrictions that forbid distributors to deny you these rights or to ask you to surrender these rights. These restrictions translate to certain responsibilities for you if you distribute copies of the library or if you modify it.

For example, if you distribute copies of the library, whether gratis or for a fee, you must give the recipients all the rights that we gave you. You must make sure that they, too, receive or can get the source code. If you link other code with the library, you must provide complete object files to the recipients, so that they can relink them with the library after making changes to the library and recompiling it. And you must show them these terms so they know their rights.

We protect your rights with a two-step method: (1) we copyright the library, and (2) we offer you this license, which gives you legal permission to copy, distribute and/or modify the library.

To protect each distributor, we want to make it very clear that there is no warranty for the free library. Also, if the library is modified by someone else and passed on, the recipients should know that what they have is not the original version, so that the original author’s reputation will not be affected by problems that might be introduced by others.

Finally, software patents pose a constant threat to the existence of any free program. We wish to make sure that a company cannot effectively restrict the users of a free program by obtaining a restrictive license from a patent holder. Therefore, we insist that any patent license obtained for a version of the library must be consistent with the full freedom of use specified in this license.

Most GNU software, including some libraries, is covered by the ordinary GNU General Public License. This license, the GNU Lesser General Public License, applies to certain designated libraries, and is quite different from the ordinary General Public License. We use this license for certain libraries in order to permit linking those libraries into non-free programs.

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Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

PeerTalk

Copyright (c) 2012 Rasmus Andersson http://rsms.me/

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

Sparkle

Copyright (c) 2006-2013 Andy Matuschak. Copyright (c) 2009-2013 Elgato Systems GmbH. Copyright (c) 2011-2014 Kornel Lesiński. Copyright (c) 2015-2017 Mayur Pawashe. Copyright (c) 2014 C.W. Betts. Copyright (c) 2014 Petroules Corporation. Copyright (c) 2014 Big Nerd Ranch. All rights reserved.

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

EXTERNAL LICENSES

bspatch.c and bsdiff.c, from bsdiff 4.3 http://www.daemonology.net/bsdiff/: Copyright (c) 2003-2005 Colin Percival.

sais.c and sais.c, from sais-lite (2010/08/07): Copyright (c) 2008-2010 Yuta Mori.

SUDSAVerifier.m: Copyright (c) 2011 Mark Hamlin.

All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted providing that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

THIS SOFTWARE IS PROVIDED BY THE AUTHOR ``AS IS’’ AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

STPrivilegedTask

BSD 3-Clause License

Copyright (c) 2008-2021, Sveinbjorn Thordarson All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

• Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

• Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

• Neither the name of the copyright holder nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

websocket-kit

The MIT License (MIT)

Copyright (c) 2020 Qutheory, LLC

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

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