@creatorlars just occurred to me that there is a need for expandable I/O on ESG-3. Though the design is likely already finalized already if at all possible it would be really nice to see a header on the back of the module that could chain to another RGB and Component distribution amp.
For ESG-3 and chromagnon previewing and recording wouldn’t be possible without an external DA in HD resolutions. It wouldn’t surprise me if there is already a header for this like in the case of the Visual Cortex, but I’m curious if that’s something already integrated into the design.
Are you looking for something like a 8HP distro amp (similar to Syntonie’s CBV001–EDIT: oops, I meant VU001) but intended for component outputs? Like it would have 3 RCA inputs and 9 RCA outputs in groups of 3? That way you could go take the output of your component encoder and route it to main projector, preview screen, and capture device.
@rempesm Yes sort of, thats very close to what I’m thinking of. If there is a header that can bridge ESG-3 and Chromagnon with ribbon cable then it would eliminate the need for a front panel input and save some real estate.
I’d say it seems the likelihood of at least through-holes for a header on ESG-3 and Chromagnon is pretty high, but someone from LZX would have to confirm. It would be pretty sick to have 2 extra sets of component outputs in 4hp.
You can get multiple ESG3s and mult to them if you want full control before output – or you can go from the Component or CVBS outputs to a distribution amplifier.
For monitoring, I would just use monitors that have loopthru for component sources. Most professional/broadcast monitors are designed with this in mind. If you are recording, your recording device likely has monitor outputs as well.
We can consider releasing a distribution amplifier utility module, that would be simple enough, if you want it inside the EuroRack. I think there are some DIY options for that, too.
There isn’t any extra IO on ESG3 or Chromagnon that is not already on the faceplates. But if you need extra IOs, it can be done with a distribution amplifier.
If you run in NTSC/PAL modes, you can use CVBS to monitor and Component for the main signal path.
@creatorlars So just to clarify there is no video IO connection header or something similar like on Visual cortex for ESG-3? I would love to have the distribution amp in the case but in consolidating from 12u 104 to 6u 104, hp is precious lol. My hope was that there may be a similar header or test pads that could daisy chain to a component only DA, in something like 4hp. Or a least a way to hack one together.
Correct. We’re being very strict about how video transmission lines occur in Gen3 (only thru 75R driven RCA connectors, with an individual buffer per output jack.)
We could have made a larger encoder module with a distribution amplifier and extra outputs built into it – but there’s always a cost – in this case, panel space. So that’s where we’re trying to adopt a specific philosophy on modules – in cases like this, the features are capped at 12HP and a distribution amp would be a separate module. The benefit of modular is that you can then build a system with extra IO only where you need it. It can be compact with multiple 12HP encoders, or have as many extra output amplifiers per encoder as you want (presuming a VDA module.)
If extra buffered outputs were a common use case, it would be a larger priority. Maybe we would have prioritized that over user adjustable RGB gain/offset on this module. But I’m not seeing cases for that yet. In the ESG3 to Chromagnon case, looping thru the monitor makes the most sense to me.
Yeah in my particular use case I typically have the LZX linked to two projectors for live performances. I would love to see a DA around the 8hp format, similar to how @rempesm mentioned. Though the idea has now popped in to my head to work on component to 2xVGA distribution amp in 4hp, added benefit of locking connectors. Might be a little cramped though🤔
For two projectors, I’d want two output encoders! That way you can key sources to them symmetrically and give them different output palettes. I love those kind of patches.
Honestly though, I’d think of the VDA as part of your projection rig more than part of your video synth rig. Have a monitoring solution for your video synth rig’s output – that goes to DA, then on to projectors.
Yeah 4hp is probably a bit too cramped, though it can’t hurt to dream. The potential though for running feedback from ESG3 > TBC2 > FKG3 has me mighty excited so I’m very likely gonna end up with a distribution amp in the rack regardless. I suppose a 1u tile might be a great space for that as well.
I guess even though this isn’t exactly in the same vein but I’m not sure if I saw it covered of how the toggle switches function for YRGB on ESG-3.
They are INVERT / ON / MUTE switches for each channel. The first one (with the white box) is a global invert / on / mute. So it works like a “kill to black” switch in the downward position, but without stopping video output. Very handy at a gig. Likewise the global invert is important in the feedback toolkit. If an RGB channel is inverted, global invert will un-invert it. So these work a bit like an output palette programmer in practice. I like being able to quickly get a few different color variations right on the output in a live setting, which is what the ESG3 controls are focused on.
Yes, every time you see that little white mark, this denotes a center-detented pot with a true nulling range +/-10% from the notch. You will feel the pot click out of the center detent point before the gain starts being adjusted on either side.
Another note on that. In addition to center detents for all pots on ESG3, there are 6 frontpanel accessible color balance trimmers that correspond to the 6 pots. These trimmers will set the color balance of the null position of all knobs, so you can tune the encoder to a studio reference. (It’s very subtle in the artwork, currently, but the red lines below are pointing to trimmer access holes in the panel.)
I have the latest model of Prismatic, I think is the one that have also synch on the rear.
If I understand correctly what you said, you meant that if I use the Prismatic front synch instead of the rear synch I will be able to cross patching between Chroma and Prismatic at full HD without any problems and I will be able also to output the final result in full HD from Chromagnon?
From the Lars post I seemed to have understood that it was not possible. It says “ In this case cross patching between the HD and SD systems won’t really work out,…”
