QTAKE Pro USER GUIDE 2.2

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 2.2

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.


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:

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:


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 QOD+, either one full duplex, two 1-channel, or one 2-channel card is required.

PROCESSED GPU OUTPUTS
IN2CORE 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 QOD+, either one full duplex 2-channel, one 4-channel, or two 2-channel cards are required.

PROCESSED GPU OUTPUTS
IN2CORE 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 QOD+, either one full duplex 4-channel or two 4-channel cards are required. QTAKE 4Kx1 requires a 4K video card. In case of live processing without QOD+, either one 4K full duplex or two 4K cards are required.

PROCESSED GPU OUTPUTS
IN2CORE 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 QOD+, either two full-duplex 4-channel or two 8-channel cards are required. QTAKE 4Kx2 requires two 4K video cards. In case of live processing without QOD+, two full-duplex 4K cards are required.

PROCESSED GPU OUTPUTS
2x IN2CORE 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 QOD+, four full duplex 4K channels are required.

PROCESSED GPU OUTPUTS
4x IN2CORE 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 QOD+, either one full duplex 2-channel, or one 4-channel, or two 2-channel cards are required.

PROCESSED GPU OUTPUTS
IN2CORE QOD+ (optional)

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 QOD+, either one full duplex 4-channel or two 4-channel cards are required. QTAKE 4Kx1 requires a 4K video card. In case of live processing without QOD+, either one 4K full duplex or two 4K cards are required.

PROCESSED GPU OUTPUTS
IN2CORE QOD+ (optional)

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 QOD+, either two full-duplex 4-channel or two 8-channel cards are required. QTAKE 4Kx2 requires two 4K video cards. In case of live processing without QOD+, two full-duplex 4K cards are required.

PROCESSED GPU OUTPUTS
2x IN2CORE QOD+ (optional)

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.

SDI Inputs/Outputs
Full-duplex Channels
SDI Passthrough
SDI Format
HDMI Inputs/Outputs
4K Support
Independent Inputs
Independent Outputs
ARRI/Sony Record Flag
ARRI/Sony/Canon Metadata
Timecode
Interface
AJA Corvid 88 8 4 1 3G 0/0   PCIe
AJA Corvid 44 4 2 1 3G 0/0   PCIe
AJA Corvid 44 12G 4 2 1 12G 0/0   PCIe
AJA T-Tap Pro 0/1 n/a n/a 12G 0/1 n/a n/a n/a n/a TB3
AJA Io 4K 4 2 1 3G 1/1   TB
AJA Io 4K Plus 4 2 1 12G 1/1   TB3
AJA Io X3 4 2 1 3G 1/1     TB3
AJA Kona 5 4 2 1 12G 0/1   PCIe
AJA Kona 4 4 2 1 3G 0/1   PCIe
BMD Decklink Duo 2/2 1 2 HD 0/0     6 7 PCIe
BMD Decklink Duo 2 2/2 2 3 3G 0/0     6 7 PCIe
BMD Decklink Quad 4/4 2 2 HD 0/0     6 7 PCIe
BMD Decklink Quad 2 4/4 4 3 3G 0/0     6 7 PCIe
BMD Decklink 8K Pro 4 2 2 12G 0/0   6 7 PCIe
BMD UltraStudio Recorder 3G 1/0 n/a n/a 3G 1/0   n/a n/a   6 7 TB3
BMD UltraStudio Monitor 3G 0/1 n/a n/a 3G 0/1   n/a n/a n/a n/a 7 TB3
BMD UltraStudio HD Mini 1/1 1 2 3G 0/0     6 7 TB3
BMD UltraStudio 4K Mini 1/1 1 2 12G 0/0   6 7 TB3
Deltacast 12G-elp-h 40 4/0 0 n/a 12G 0/0 n/a PCIe
Deltacast 12G-elp-h 4c 4/4 4 n/a 12G 0/0 PCIe
Deltacast 12G-elp 4c 4 4 n/a 12G 0/0 PCIe
Deltacast 12G-e-h 2i1c 4/4 4 n/a 3G 0/0 PCIe
Deltacast 3G-elp-d 8c 8 4 n/a 3G 0/0 PCIe
Deltacast 3G-elp-d 4c 4 2 n/a 3G 0/0 PCIe
Deltacast 3G-elp 40 4/0 0 n/a 3G 0/0 n/a PCIe
Deltacast 3G-elp-d 22 2/2 2 n/a 3G 0/0   PCIe
IN2CORE ScreenPort SDI 1/0 n/a n/a 3G 1/0   n/a n/a USB
  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 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.


Version Selector

Switching between various operational modes of the app is done via the QTAKE VERSION dialog, where you can specify PRO, LIVE or LITE version, number of VIDEO CHANNELS (cameras) and switch between HD and 4K modes. Long-click the QUIT button to open the version selector:

After selecting the required version, click the CLOSE button to restart the application using the new configuration. In addition to a number of cameras and 4K mode, two preferences are dependent on the version selected:

Two Boards For Dual IO = YES
Constant Playout Mode = YES
You can find more details about these preferences in the Simultaneous SDI Input & Output section.

QTAKE Pro

QTAKE Pro is the full version of the app, licensed by an extensive range of modules. This provides the most flexible configuration to fit any project requirements.

See QTAKE Modules and Common Modules sections to see what licenses are available for QTAKE Pro.

QTAKE Live

In this stream-only mode, recording, playback, editing, compositing, and all other video-assist-related features are disabled. QTAKE Live is designed to offer a simplified interface and more affordable licensing for productions that require only local or cloud streaming.

See QTAKE Live Modules and Common Modules sections to see what licenses are available for QTAKE Live.

QTAKE Lite

This is the most affordable version of the QTAKE app providing essential functionality with dual camera support and processed output via QOD.

Feature Details

Input

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Single channel SD/HD input LIVE2 BASE
Dual channel SD/HD input LIVE2 X2
Four channel SD/HD (or 1x 4K) input   LIVE4 X4
Eight channel SD/HD (or 2x 4K) input   LIVE8 X8
Four channel 4K input     4KX4
Teradek Cube network input LIVE2 STREAM
NDI® network input LIVE2 STREAM
QTAKE Stream input LIVE2 BASE
USB AV Device input LIVE2 BASE

Recording

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Single channel SD/HD recording   BASE
Dual channel SD/HD recording   X2
Four channel SD/HD (or 1x 4K) recording     X4
Eight channel SD/HD (or 2x 4K) recording     X8
Four channel 4K recording     4KX4
Recording discrete 3D feeds to SBS clips     MUXER
Camera triggered auto-record   BASE
Camera metadata recording   BASE
3D Rig metadata recording     BASE
SDI positioning data recording     BASE
Frame by frame recording     BASE
Timelapse recording     BASE

Proxy

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Recording processed H264/HEVC proxy     BASE
Rendering processed Proxy     BASE

Streaming

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Local network streaming   LIVE2 STREAM
Cloud Streaming   LIVE2 + Credits STREAM + Credits
Dolby Vision® metadata streaming   STREAM STREAM
Forensic watermark   FORENSIC FORENSIC

Playback

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Synced playback of two clips   BASE
Synced playback of four clips     X4
Synced playback of eight clips     X8
Reverse playback   BASE
Frame-by-frame playback   BASE
Variable speed playback   BASE
Instant speed-ramp playback     BASE
3D playback     BASE
Single 4K channel playback     X4
Two 4K channel playback     X8
Four 4K channel playback     4KX4
RAW media playback     RAW

Clip Navigation

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Multiple IN/OUT markers   BASE
Chapter markers with titles   BASE
Subclips     BASE
Shuttle control     BASE

Database

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Tree-based visual clip browser   BASE
Table-based clip list browser   BASE
Clip Metadata   BASE
Camera Metadata   BASE
Shot Metadata   BASE
Clip Notes   BASE
Camera Media Filename   BASE

Import

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Import Quicktime video files   BASE
Import WAV audio files   BASE
Import JPG, PNG, TGA, TIFF image files   BASE
Import EDL files     EDIT
Import CDL files     BASE
Import 1D & 3D LUT files     BASE
Import QTAKE XML files     BASE
Import ALE files     BASE
Import RAW media files     RAW

Export

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Export to Final Cut Pro     EXPORT
Export to FCPX     EXPORT
Export to AVID Media Composer     AVID
Export to EDL     EXPORT
Export to QTAKE XML     EXPORT
Export PDF Report   BASE
Screenshots   BASE
Export to file     BASE
Export to ALE     RAW
Export to Dolby Vision® HEVC     DOLBY

View FX

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Basic Color Correction     BASE
DVE LIVE2 BASE
Crop LIVE2 BASE
Mask     BASE
Grid     BASE
OSD LIVE2 BASE
Still Mix   BASE
Demux & Quad   BASE
Dolby Vision® iCMU PREVIEW DOLBY DOLBY DOLBY

Clip FX

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Blur & Sharpen FX Group   LIVE2 BASE
Transform FX Group   LIVE2 BASE
Matte FX Group   LIVE2 BASE
Stylize FX Group   LIVE2 BASE

Color Grading

 
QTAKE Lite
QTAKE Live
QTAKE Pro
CDL   LIVE2 BASE
LUT   LIVE2 BASE
LOOK - Pomfort Integration   LIVE2 BASE
Advanced Color Correction   GRADE GRADE
External LUT box support   GRADE GRADE
ACES Color Management   GRADE GRADE
Dolby Vision® Trim controls   GRADE+DOLBY GRADE+DOLBY

Stereoscopy

 
QTAKE Lite
QTAKE Live
QTAKE Pro
3D capture and playback     BASE
3D HIT control     BASE
3D timeline playback     BASE
Side-by-side video support     MUXER
Demux & remux     MUXER

Editing

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Single track editing     EDIT
Dual View trimming     EDIT
Timeline effects     EDIT
Instant timeline from selected clips     EDIT
Match frame     EDIT
EDL export     EDIT
Live editing of four HD channels     X4
Live editing of eight HD channels     X8
Live editing of four 4K channels     4KX4

Compositing

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Real-time two-layer composite     COMPOSITE
Blend modes     COMPOSITE
Wipe with angle and smoothing     COMPOSITE
High quality chroma key with despill     COMPOSITE
Luma key     COMPOSITE
Alpha channel overlay     COMPOSITE
Render composite     COMPOSITE
Still mix   BASE

CGI

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Import Collada CGI scenes     CGI
Playback animated CGI scenes     CGI
Control multiple virtual cameras     CGI
External motion data     CGI
Stereoscopic CGI output     CGI

Output

 
QTAKE Lite
QTAKE Live
QTAKE Pro
SDI video card output LIVE2 BASE
SDI video card live processed output LIVE2 BASE
Low-latency processed GPU output QOD OUTPUT OUTPUT
Multi-view output     OUTPUT
3D muxed output     OUTPUT
Full-range or legal color output     OUTPUT
NDI® output     STREAM
Dolby Vision® iCMU SDI output     DOLBY

Scopes

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Waveform     SCOPES
Vectorscope     SCOPES
Histogram     SCOPES
False Color     SCOPES
False Color V2     SCOPES
Focus peaking     SCOPES

Network

 
QTAKE Lite
QTAKE Live
QTAKE Pro
Slave system   LINK
Master control of 8 systems     LINK

Integrations

 
QTAKE Lite
QTAKE Live
QTAKE Pro
GPI input triggers     BASE
GPI output triggers     BASE
AJA Kumo or BMD Videohub Control LIVE2 BASE
AJA Kumo or BMD Videohub Presets LIVE2 BASE
Tangent control surface   LIVE2 BASE
Pomfort LiveGrade   LIVE2 BASE
MRMC, Cmocos motion control     BASE
MoSys, nCam, Stype motion tracking     BASE
Moxion, ShotGrid cloud (QTAKE Server)     BASE

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.

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 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 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 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:

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 QOD+ hardware device to your system to provide four independent 3G-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 service uses consumable CREDITS. See more info in the Cloud Stream section.


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 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.

Dolby, Dolby Vision, and the double-D symbol are registered trademarks of Dolby Laboratories Licensing Corporation.

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 ALE 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)
  • 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.

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.

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 ALE format. While XML contains complete QTAKE metadata, ALE export can be customized using ALE Export Templates.

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 subwindows originating from windows sent to Views as a UI Output. To deactivate UI Output when a subwindow has been opened, you have to do one of the following:
- click the circle button on the subwindow 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.

HELP

Help screen is used to display QTAKE manual directly inside the application.
Press the HELP button to scale down QTAKE interface and load the User Guide. Press the HELP button again to close it. Help screen will allow you to browse the manual using PREVIOUS and NEXT rounded buttons at the bottom of the page that will jump through the sections. Top rounded button will show you your current position in the document. Clicking this button will open the Table Of Contents and allow you to jump directly to desired section.


BACK and FORWARD buttons are used to navigate through the history of visited parts of the manual.


Turn on the UI MODE to automatically highlight part of the manual that explains the currently clicked button in the QTAKE user interface. Use the right click (or left click and drag the cursor out of the button area) if you want only help highlighted without activating the primary function of the button.


ROOMS

The main menu of the application consists of 5 Rooms:

FILE

This is the initial room, where you create users and projects, adjust system settings and import/export files. The keyboard shortcut is Shift-1.

SHOOT

This room is used to record and play back clips, enter clip data, and adjust various display options. The keyboard shortcut is Shift-2.

EDIT

The edit room is used to make sequences of clips. The keyboard shortcut is Shift-3.

COMPOSITE

This room is used to prepare your VFX shots by creating various overlays of two video layers. The keyboard shortcut is Shift-4.

STUDIO

The Studio room allows you to record and cut up to 4 live video feeds. The keyboard shortcut is Shift-5.


STATUS

The STATUS BAR is located along the top of the interface, next to the ROOM buttons. This area is used to display information about the current state of QTAKE. The first row contains QTAKE version number, current date and time, and performance information. The V numbers correspond to the number of frames processed in each View. M corresponds to the number of frames sent to the GUI monitor and E corresponds to the number of frames sent to the external monitor - GPU output.

The second row contains hardware status information such as the ambient temperature (as read by the computer’s internal sensors) and fan speeds. CpuP and GpuP indicate the state of system frequency throttling. Any value other than OK indicates that the system is reducing the frequency of the respective component due to the risk of overheating. If you are using the default system audio device as your QTAKE output device (which is not a recommended practice), you will also see the volume level displayed here. Click the status bar to show the expanded log message view. Log view can be set to display NOTIFICATIONS or to filter log messages based on their type: ALL, INFO, WARNINGS, and ERRORS. The FINDER button is used to hide QTAKE and reveal the current log file in the Finder.


LIST

Clicking the LIST button in the special buttons zone (or long clicking the BROWSE button) will open the clip list browser sidebar. This browser gives you an overview of the recorded clips in a convenient list form. Clips are sorted by clicking on any of the column headings. The LIST layout can be customized by moving the columns left or right and by resizing each column.

Custom layout of the LIST sidebar will be automatically stored for the current user.

Clicking any row will load the respective clip into active View. Dragging the cursor through the list will temporarily display a thumbnail of the selected clip. Releasing the mouse button will load the selected clip into active View. Releasing the mouse button outside the LIST will cancel loading and keep the current clip in the View. By selecting the LIVE clip from the list, you can patch the current View to live input.

Long click the LIST button the make the LIST sidebar visible in the full-screen mode.

CLIP LIST FILTER

Easy navigation through thousands of clips is possible using various FILTER options. Clicking any item in the horizontal scroll view next to the FILTER button will open a small list with its options.

PATCH

Patch filter provides clip filtering by ACTIVE View patch, which means the list will show only the clips that are corresponding to the selected DISK PATCH of the active View. This can be based on a camera letter or recording input.

UNITS

This filter is indispensable when shooting multiple units and synchronizing projects using QTAKE Server. As with all other LIST filters, you can select one or more units.

CAMERAS

This option filters clips by selected camera letters.

EPISODES

When shooting a series, you can select this filter to show only the currently shot episodes.

RATINGS

RATINGS filters clips by the number of stars.

TAKE TYPES

This option will filter pick-ups, part takes and reference takes.

TIME

The Time filter is used to filter clips by the time they were recorded.

ORIGIN

This filter is based on how the clip was created: RECORDED, IMPORTED, LINKED, RENDERED, SEQUENCE.

SOURCE

Use this filter if you want to show clips from a specific QTAKE system.

BINS

Bins are like folders, they allow you to group clips that have no metadata to be grouped by.

To display the BINS table, click on the LIST header where it says BINS. It will be displayed on the left of the LIST table. Another click will disable the BINS table.

SMART BINS

Use this option to group clips dynamically by their metadata using simple or complex filtering rules in the SMART BIN editor. Alternatively, you can use the SEARCH ANY field to find clips by metadata and turn the search condition into Smart Bin.

To display the SMART BINS table, click on the LIST header where it says SMART BINS. It will be displayed on the left of the LIST table. Another click will disable the SMART BINS table.

ROLE

This option is not selectable by QTAKE Operator. It is used by the QTAKE Server administrator to limit access to clips. Any shared BIN or SMART BIN can be used to filter out clips that should not be seen by specified roles.

The option is only visible if QTAKE Server administrator is limiting clip access for your role to specific BINs. You will find more information in QTAKE Server manual section.


TRASH

Deleting clips in QTAKE is performed in two steps. First, you need to move clips to trash using the MOVE TO TRASH function. Then you can either put them back or permanently delete them. Click the TRASH button in the header of the LIST sidebar to display the contents of the trash bin.

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 segmented button labeled 3 2 1 lets you set the horizontal size of the list browser. Note that some functionality is hidden when the horizontal size is set to 2 or 1.

The BIG button resizes each row of the list to enable them to be used with a touch screen.

The LIVE CLIPS SORT option can help you quickly set the order of your LIVE clips.

The SEARCH CLIP input field allows you to filter displayed clips by searching for SCENE, NOTE, or ANY. To disable the filter simply long-click the SEARCH CLIP button again.

The SEARCH by SCENE feature employs a SPACE separator for enhanced functionality. If you use SPACE after the search string, the LIST will filter all clips matching the SCENE with empty SHOT metadata.

The SELECT button lets you select multiple clips to perform a function on. In addition, metadata can be edited for selected clips using the META sidebar, CLIP, and DATA toolbars.

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.

FUNCTION

You can perform additional tasks on a selection of clips. The following functions are currently available.

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 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 TO AVID ALE

This function will create an ALE file 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.


FX

FX is the stack of image processing effects that are applied to a clip in a View. These effects only apply to the active clip and are separate from any effects applied through the VIEW FX toolbar. Effects that are added to live clips will be added to all successive clips that are recorded using the same input. Effects in the stack will be applied in top-to-bottom order. GROUPS are used to help keep your effects organized and to allow linking certain parts of the effects stack between multiple cameras. It contains a single group called MAIN by default.

Long-click the FX button to make the FX sidebar visible in full-screen mode.

By clicking the ADD NEW EFFECT button in the CLIP FX sidebar you can choose and add an effect to the active clip. Effects will be placed into the current GROUP. Effects are grouped into five categories:

The ADD NEW GROUP button lets you add groups to the current group.

Long-click the GROUP to add a custom name to the GROUP selected. Clicking a GROUP will enter it and the CLIP FX sidebar will display all effects contained within that group. The GROUP title bar will change to display an arrow icon (<) and a number indicating the sub-level of the group in the CLIP FX hierarchy. Clicking the arrow will take you back to the parent GROUP. Each sub-GROUP can be linked to clips in other Views by using the LINK button. Long-click the LINK button to select which Views to be linked, similar to CLIP SYNC or REC SYNC. If a GROUP with the same name, or effects contained in that GROUP are not present in the clip of the linked View, they will be automatically created.

The SELECT button lets you SELECT effects and COPY or CUT them. PASTE will add the effects to the current GROUP of the active clip. This allows you to move effects between GROUPS and clips.

ENABLE (shortcut Ctrl-F) button lets you globally enable or disable all CLIP FX.

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.


FX HISTORY

FX sidebar contains HISTORY BROWSER that allows you to go back to any previous change made to your effect stack. This is similar to undo/redo functionality found in other applications, but way more powerful, because it lets you see the visual representation of every step.

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.


Directional Blur

This effect applies directional blur to the clip. It allows you to set the RADIUS and the ANGLE of the blur.


Gaussian Blur

This effect applies a gaussian blur to the clip. It is useful for simulating the out-of-focus background in a composite.


Noise Reduction

This effect reduces the image sensor noise in the video.


Sharpen Luma

This effect is used to sharpen the luminance part of the image without affecting the chroma channel.


Unsharp Mask

This effect amplifies the high-frequency components of the image resulting in a clearer representation.


Zoom Blur

This simulates the effect of zooming the camera lens while exposing 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.


CDL - Color Correction

ASC Color Decision List 1.1 is a widespread color correction standard. This simple, but powerful 3-way corrector can be used to color grade each individual clip. You can import externally created CDL XML files by hiding QTAKE and dragging them to the QTAKE icon in the dock. The IMPORT CDL and EXPORT CDL buttons let you save and recall imported and previously created CDL corrections in the COLOR CORRECTION LIBRARY.

The CDL clip effect can also use remote correction from DIT. This allows QTAKE to mirror and store CDL adjustments done in Livegrade Pro software. To enable this functionality set the IP address and port number of the Livegrade server in preferences. If your DIT is using Livegrade Studio software, you can use more advanced LOOK integration, which sends 3D LUT in addition to CDL.

LiveGrade Host X = localhost
(use the IP address of the computer running LiveGrade)
LiveGrade Port X = 6666
(increase the port number for each consecutive input)


COLOR CHART

This effect uses the X-Rite ColorChecker Passport chart to automatically calibrate the image. Display the on-screen frame using the SET FRAME button and position it to match the recorded color chart in your video image. Then click the MATCH button to instantly remove any color cast.


COLOR MATCH

This powerful effect alters color components to match the image in a REFERENCE View. Select the View to use as a reference and click the MATCH button to produce the result. COLOR MATCH can use one out of four different color-matching methods.


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.


CONTRAST CURVE

This effect is similar to the CURVES effect. But the additional handles, sliders, and numerical input fields allow a highly adjustable and accurate contrast adjustment. The orange control points allow you to adjust the BLACK OFFSET and WHITE OFFSET while the yellow handles allow you to shape the curve in the graph display. You can select whether the contrast should affect LUMA or the RGB. Selecting LUMA will retain the original saturation of the image while selecting RGB will apply the curve equally across all color channels.


CURVES

The CURVES effect allows you to apply an RGB curve to the clip. In simple terms, you can think of the curve as a means to apply variable gain to the image. The horizontal axis represents the color values in the original (input) image, from 0% on the left to 100% on the right. The vertical axis represents the color values of the resulting (output) image, from 0% at the bottom to 100% at the top. A neutral curve, where the output is identical to the input is represented as a straight, diagonal line. The segmented button at the bottom of the effect lets you switch between adjusting the MASTER curve or RED, GREEN, and BLUE color channels individually. The COLOR field lets you sample the color from the image to set the point on the curve.


Dolby Vision®

For Dolby Vision Content Mapping v4.0, there are a total of 21 trim controls that you can use to modify the mapped image. They are divided into three categories, PRIMARY, SATURATIONS, HUES, and you can set GLOBAL MID OFFSET. The extended toolset of trim controls in CMv4.0 lets you refine and modify the metadata with increased precision and flexibility.

On top of that, you can SET display AREA or manually set the offset, set CONTENT TYPE and INTENDED WHITE POINT.

Automatic Playback Optimization utilizes new CONTENT TYPE information stored within Dolby Vision Level 11 metadata to optimize the TV’s settings for different types of content. It gives you more control of the playback settings. The new content type metadata controls factors such as white point, frame rate, noise reduction, and sharpness. The following content types are available:

  • Default - results in a “legacy” consumer experience on the default picture mode for Dolby Vision or Dolby Vision IQ TVs where a limited amount of post-processing is permitted. If you wish to control the consumer experience, you should set a different content type.
  • Movies - minimizes post-processing and is recommended for content creators who wish to deliver a consumer experience closest to their original artistic intent.
  • Game - minimizes video gaming latency (input lag).
  • Sport - enables frame rate conversion to reduce consumer artifacts with high-motion sports.
  • User Generated Content - enables a range of post-processing that can compensate for content shot using consumer phones, which likely do not have the capabilities of commercial cameras.

The INTENDED WHITE POINT setting specifies the desired configuration of the display white point. If the content was mastered on a D93 set mastering display, the metadata indicates that it should also be viewed on a D93 set display, as the content only looks as intended if the consumer TV is also set to D93. The metadata will automatically set the TV to D93 when instructed and revert to D65 otherwise. Dolby provides content creators with a range of intended White Points. These white points will either be directly supported in Dolby Vision IQ TVs – or mapped to commonly supported white point values for TVs.


HIGHLIGHT AND SHADOWS

This effect provides adjustment of the HIGHLIGHT and SHADOW portions of the image. It is used to simply control the gain of the very dark or very light areas without affecting the rest of the image.


HLS - Hue, Luma, Saturation.

This effect allows you to perform adjustments of the HUE, LUMA, and SATURATION channels. The COLORIZE button shifts all colors in the input image to hues of a single color, controlled by the HUE button.


HUE > HUE

This effect allows you to selectively shift the colors of the image. The horizontal axis represents the different hues in the original image. Moving the curve along the vertical axis allows you to adjust the hues of the resulting image. The COLOR picker allows you to add a point to the curve by sampling the image in the View.


HUE > LUMA

This effect adjusts the lightness of selected hues based on the curve displayed. The horizontal axis represents the different hues in the original image. Moving the curve along the vertical axis adjusts the lightness of those hues.


HUE > SAT

This effect allows you to selectively increase or decrease the saturation of hues within the image. The horizontal axis represents the different hues in the original image and the vertical axis represents the saturation change of those hues.


LOOK

Look effect provides an interface for integration with Pomfort LiveGrade Studio software. Unlike old-school destructive workflow, where DIT uses LUT Box to modify clean camera image, this new approach sends only color-grade metadata to QTAKE. In this case, QTAKE acts as a smart LUT Box that can apply dynamic color grading on the fly - using CDL and LUT data that is sent from LiveGrade to QTAKE over the local network. This non-destructive on-set color workflow allows you to tweak the look even during the playback or to compare ungraded and graded image.


LUMA > SAT

This effect adjusts the saturation based on the luminosity value of the original image. The horizontal axis represents the luminosity values of the input image and moving the curve increases or decreases the saturation in selected parts.


LUT

Allows you to browse for and apply a lookup table to the current clip. QTAKE supports 1D and 3D LUTs in the following formats:

  • Iridas Cube LUT (.cube)
  • Blackmagic 1D LUT (.ilut, .olut)
  • DaVinci 3D LUT (.davlut)
  • Resolve DAT 3D LUT (.dat)
  • Autodesk 3D LUT (.3dl)
  • Discreet 1D LUT (.lut)
  • Nucoda CMS LUT (.cms)
  • FSI DAT 3D LUT (.dat)
  • Quantel 3D LUT (.txt)
  • DVS Clipster 3D LUT (.txt)

Importing Look Up Tables (LUT)
Importing Look Up Tables into QTAKE is done by dragging the LUT files onto QTAKE dock icon.


LUT MIXER

This effect is used to compare or mix two LUTs. WIPE mode displays two images blended with a wipe transition. You can adjust AMOUNT and ANGLE to move the transition line to the preferred location. DUAL mode displays two images side-by-side. And finally, the MIX mode will mix two LUTs using a selected ratio to produce a single color transformation.


SAT > SAT

The saturation versus saturation curve adjusts the output saturation based on the input saturation.


TEMPERATURE AND TINT

Use this effect to make the image hues warmer or cooler by adjusting the COLOR TEMPERATURE value. TINT will shift hues towards green or magenta.


VIBRANCE

This effect will saturate the colors of the image without over-saturating the skin tones.


VIDEO RANGE

This effect lets you transform full range values to legal range values or legal range values to full range. This is useful for imported footage that might not correspond to the video range used in the project.


WHITE BALANCE

This effect automatically adjusts the color temperature based on a color sampling of the NEUTRAL COLOR in the image. Use this effect to if the image looks too cold or too warm.


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.


ALPHA

The alpha effect is used to premultiply or un-premultiply alpha channels. This is useful when recording or importing the video with transparency (RGBA) because the source can have different alpha premultiplication than needed.


EXTRACT MATTE

This effect does not affect the image in any way, instead, it isolates areas of the image based on LUMA, HUE, and SATURATION values. The isolated area or matte can then be used as a qualifier in other effects. This tool can be used to perform selective color correction if the mapping curves don’t produce the desired effect.


GARBAGE MATTE

Lets you create a mask for the active clip. Select DRAW and click on the image to create points in the mask, to “close” the mask click on the first point you created.

In EDIT mode you can MOVE, ROTATE or SCALE the mask. To manipulate a smaller section of the mask select the points individually or click and drag a box to select multiple points at once. Clicking inside the mask selects every point in the mask and clicking outside it deselects all.

The CLEAR button lets you remove selected points or by long-clicking clear the entire mask. Adding points is done by long clicking between two existing points. You can also BLUR and INVERT the mask.

KEY ONLY mode is used in the COMPOSITE ROOM to limit the CHROMA KEY effect to a specified region of the keyed image. Unlike a regular GARBAGE MATTE the masked-out area while in KEY ONLY mode specifies an area that will remain unaffected by the CHROMA KEY. This is useful if you are keying a small part of the image like a window or a doorway.


STYLIZE Category

This category contains effects that perform expressive image manipulation.


FILM GRAIN

This effect will add film-style grain to the digital image. You can control INTENSITY and GRAIN SIZE parameters to adjust the effect to your preferences. Turn off the RANDOM option to generate static grain.


PHOTOCOPY

The PHOTOCOPY effect will reduce the colors of the clip to a black-and-white image. The THRESHOLD value adjusts the brightness level where the transition between black and white occurs.


VIGNETTE

This effect creates a circular mask that causes the image to fade towards black near the corners of the View. Using the sliders allows you to adjust the rotation, size, transparency, and amount of blur of the vignette.


TRANSFORM Category

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


ANAMORPHIC

If you are shooting with anamorphic lenses, you can use the ANAMORPHIC DESQUEEZE effect to specify the amount of stretch needed to display the image with a correct aspect ratio.


CORNER PIN

This effect allows you to distort the image by dragging its corners. This is commonly used to match the perspective for billboard mapping. Enable SHOW CONTROL POINTS to display the corner points.


CROP

Allows you to CROP the video by adjusting CROP TOP, CROP BOTTOM, CROP LEFT, and CROP RIGHT values.


DEINTERLACE

Use this effect to remove interlaced video fields that can cause jitter on still or speed changes. The segmented button allows you to select the UPPER or LOWER field to be used to interpolate missing lines for full vertical resolution.


DEMUX

This effect is used to convert muxed 3D stereoscopic side-by-side image to a single camera (left or right eye) 2D representation.


DVE

With the DVE controls located in the CLIP FX sidebar, you have access to per-clip DVE functionality. These settings will, unlike the View-based DVE settings, be specific to the active clip. Like the View-based DVE 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.


LENS DISTORTION

Allows you to simulate or remove lens distortion from the video by adjusting the DISTORTION AMOUNT value.


MIRROR

Enables the usage of the mirror effect with adjustable offset and orientation.


QUAD

The CLIP FX QUAD toolbar replicates the QUAD toolbar functionality but on a per clip basis.


VR VIEW

Converts video with equirectangular projection to video with rectilinear projection. This allows you to watch and play back VR 360 video. The NONE and NORMAL buttons turn the effect on and off. PAN, TILT, ROLL and VIEW CONTROL lets you adjust the virtual camera orientation. You can switch between some common orientations by using the F (front), B (back), L (left), R (right), T (top), B (bottom) buttons. The FOV value sets the field of View or the “focal length” of the virtual camera.

REMOTE CONTROL mode is used to change the orientation of the virtual camera using external data coming from the motion control or motion tracking system. One of the most simple tracking systems is the iPhone. When running QTAKE Monitor, an iPhone can be mounted on the camera to send the orientation data to QTAKE. If the data was not precisely synced to the video, you can use PLAY DELAY to adjust the offset. SOURCE VIEW is used to select which View is used as a source of metadata for this effect. Remote Control functionality requires SYNC module license for QTAKE Server. See more info in the Remote Control section.


META

The META sidebar provides a convenient way to View and edit all metadata of the clip in the active View. If the SELECT mode is enabled in the LIST, the META sidebar will display aggregated values for all selected clips. This allows you to check if all selected clips have the same value or change the values for multiple clips at the same time.

Long-click the META button to make the META sidebar visible in full-screen mode.

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.


CUSTOM METADATA GROUPS AND FIELDS

You can add custom fields to any metadata group. Click the EDIT button to enter edit mode, then click the + (plus) symbol on the right side of each category heading. New fields will be shared among all QTAKE Server users that have permissions for the group containing these fields. There is also a PRIVATE DATA group that is not shared with other users and you can use it to store your private notes.

When adding a custom field, you are presented with a dialog that allows you to set the NAME of the field, its TYPE, and any additional attributes for that field type, such as entries for a multi-choice field.

In addition to custom fields within existing metadata groups, you can add custom groups. When the EDIT mode is ON, at the bottom of the metadata groups list there is the ADD NEW GROUP button.

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.


TALK

The TALK button is used to toggle the talkback from the QTAKE operator to QTAKE Monitor or QTAKE Cloud user. If this button is active and your talkback input device is set correctly, your voice is transmitted to the designated stream client. This feature is used to talk to the director. For more details see the TALKBACK Menu.

When you set the INPUT DEVICE for TALKBACK in the TALKBACK menu, QTAKE constantly captures audio to show a little peak meter on the TALK button.


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.


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 you have to select DISK mode for both Views. 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 from which View clip metadata for the rendered clip will be applied. This 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. This 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.


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.

HIDE indicating secondary function
HIDE in VIDEO WINDOW mode

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.


FILE Room

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





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



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.

QOD+ supports HDR output for HDR Monitors. To enable the QOD+ 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 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.


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.


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.


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.



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.


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.


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.











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.











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.




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.





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.

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.










More information can be found in the QOD+ User Guide. It can be downloaded from: QOD+ User Guide

QOD HDR OUTPUT

Starting with QTAKE Pro v2.1, QOD supports High Dynamic Range output. SDI Monitors with HDR payload detection will correctly set the colorspace and other HDR metadata when connected to QOD.



SHOOT ROOM

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




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.


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.


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.


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


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.


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/













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.

Extended clip data can be accessed in the META sidebar and the DATA toolbar.

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.






















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.









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.


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)


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


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
  • Rec.2020 PQ
  • Rec.2020 HLG
  • P3 D65 PQ
  • P3 D65 HLG

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.






























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.









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.




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.



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.









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.


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.


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.


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.








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.


There are two ways of performing the edit during recording:



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.







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.

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.

GPU Out X Label

Use this setting to edit the GPU-OUT label string for each output (i.e. DIRECTOR, CLIENT).

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.

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END OF TERMS AND CONDITIONS

OpenEXR

Copyright (c) 2006-2019 OpenEXR a Series of LF Projects, 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:

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 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.

© 2022 Copyright OpenEXR a Series of LF Projects, LLC and/or its contributors. All documentation on this website made available under a Creative Commons Attribution 4.0 International License. All rights reserved.

ORSerialPort

Copyright (c) 2011-2012 Andrew R. Madsen (andrew@openreelsoftware.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.

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.