Ah, okay. Well then, yes, you would need a second device to get that second external input into your system (same as you would with Vidiot).
Sync won’t really be as much of an issue with Chromagnon (as it is with Vidiot) because its external input has a built-in TBC.
1 video mixer at the end of the chain mixing/keying feedback with output
2 video mixer in front of chromagnon mixing/keying between feedback and source
3 take a 1/8 LZX standard video signal into one of the many video rate modulation inputs (assuming you’ve got modules that produce those signals)
4 camera -> mult -> chromagnon sync, dirty mixer A channel
still source -> dirty mixer B channel
dirty mixer out -> chromagnon video input
because things are sync’d together I would imagine you’d get the result you are after with this! I could be misunderstanding how those two inputs work with each other though
those would be the places that I would start messing around with that kind of workflow
Follow up question since you guys are so helpful and I’m struggling with capture options. Chromagnon has distinct Chroma/Luma/Shape modes. What type of workflow should I look for to run a single video through Chromagnon multiple times?
For example: [external video > Luma pass through Chromagnon > (record) shape pass > (record) Chroma pass > digital capture]. I suspect you could get amazing results from varying the order of operations and compositing modes on Chromagnon. But I can’t think of an elegant way to do this.
Something like [DVD player > Chromagnon > Ambery analog to HDMI convertor > Atomos Ninja 2 > computer > burn DVD > repeat]. That sounds too slow. Or maybe two shuttle recorders, rotating which is the input and output?
What type of workflows have people used for this? Anything from dirt cheap to primo…I’m stretched on budget but willing to save up for upgrades eventually. It’d be a shame not to take advantage of 1080i60 component outs on Chromagnon.
It might be easier to use a source that also records, so you can switch between your recorder and source in the chain. For example, 2x Atmos Ninjas, or a DVD recorder and a DVD player, or two laptops, or an Andor and a laptop, or any combination of these.
Maybe better to continue this discussion in one of the capture threads, as Chromagnon isn’t necessarily relevant to the methodology. You could apply this workflow to any processor.
So I’ve been thinking about how to use TBC2 and chromagnon to distribute sync between two cases. TBC2 has an rca sync out, so would sending this output to chromagnon on its video input sync the two cases?
I’m going over the 12 compositor modes and trying to match them up with the examples posted.
this post is showing some interesting data about how these modes will work
Is this the way the modes are laid out?
I’m assuming “clear” should be “add”
going over the data and matching the names up really helps be able to spins some more wheels about chromagnon.
I’d like to do a module layout with graphviz to approximate the navigator,shapechanger,staircase,polar fringe,mapper layout chromagnon can be.
I’m having a hard time fully understanding the polar fringe (is it used in the 12 compositor modes?) mapper (is it in the RGB to YUV conversion?) and staircase (I’m reading the 2d staircase explanation but don’t really get it) modules places in the patch.
I’m excited to understand it better!
also in preparation for the chromagnon I think it makes sense to try making a single modulation source that gets sent to many places in a patch. I personally haven’t really used that technique yet.
Hello all, on the fence about diving into video synthesis for some Rutt Etra visuals. I have a 12u on normal eurorack. Would the Chromagnon cover all the territory in the example patch on this site? Aside of course from the cctv and XY display? If not, what would I be lacking?
Chromagnon provides an all-in-one vector rescanning workflow. You would use the X/Y/Shape outputs (which will have rear panel trimmers to tailor the output to your vector monitor) into your X/Y/Z inputs.
More from Lars about the compositor:
[Chromagnon’s] Porter-Duff compositor is a 2-channel RGB mixer driven by two separate key sources controlling the gain of each channel. The key sources come from a few multiplexed min/max and summing amp circuits, so all the Porter-Duff logic is created there.
When both alpha channels are active, I expect a lot more negative space in the resulting composition in comparison to what we’re used to with raster patterns – since you have a multitude of ways to constrain two sources onto a black backdrop, and can easily avoid the “full frame wiggly rainbow square” look.
What I was trying to say was: avoiding the “full frame wiggly rainbow square” look. is overrated! 
has Memory Palace similar power needed
to a Crohmagnon?
Chromagnon could pull as much as 1.5A (1500mA) on the positive rail. This is still an estimate and is on the high side of the possible range.
Was curious about Chromag — is it possible to combine the feedback path/mode with external inputs, or have the two interact in any way? Also, is there a way to switch between feedback and external input modes via CV (or USB)? Thanks 
Feedback is considered an external input, so you wouldn’t be able to combine it with incoming video. Input sources are only selected manually, not via CV or USB.
You could do this with a video mixer, I’ve heard. Use the mixer to mix the Chromagnon output and the external video, then plug the mixer output into the Chromagnon input.
Definitely! You could even put other devices into that feedback path, too.
Oh yeah, great idea. I wonder if there’s a mixer out there that could work in this instance, while still preserving Chromag’s HD signal path? 
The V4EX / V8EX can accept HD Component over the VGA connector with a breakout cable I believe.
Awesome. That sounds like a pretty dang powerful setup.
This is true, and often upscales the input coming in quite significantly, as it’s a full rgb signal, instead of composite. Really makes a difference when going hdmi out on the big screen on a proper cinema (no pun intended) projector…
Moral of the story, component out wherever possible.
