Compositing

• Render Sequence: Defines how the alpha key signal should be generated (default is Overlay): These settings define how the compositor of Viz Engine generates the final fill and Key signal.

  Caution: Be careful when changing these settings!

  
  
  The following render sequences are available:

  Sequence	Classic	Viz Engine	Description
  Virtual Studio			Switches from Overlay to Full Screen when the control mode of the current camera switches from Remote to Editor (see Camera Editor ). In a Virtual Studio set, to perform a camera flight with the virtual camera when the real camera is stationary, the graphics must be set to Full Screen to avoid a situation where the virtual and the real camera have different position values. When the camera is switched from Remote to Editor (to do the flight) the keyed graphics automatically switch from Overlay to Full Screen.
  Fullscreen			Enables downstream compositing and generates a full screen key that outputs a non-transparent key signal when the Render Sequence is set to Full Screen. This means everything without a Key plug-in is treated as background graphics and appear behind DVEs on the output. Everything with a Key plug-in is rendered in front of DVEs. For setups using a Matrox X.mio video board, the key preview is all black, instead of all white, while show key is enabled in the Scene Editor. This allows the designer to work with containers with Key plug-ins during scene design.
  Overlay			Sets as key signal only those Containers that have a Key function applied. Only Containers in the Scene Tree with a Key function applied are rendered into the key signal. Use this mode to correctly blend graphics and DVEs.
  Background Image			Uses the alpha values of the background image as a key signal and Containers with a Key function applied and rendered on top. This option is only applicable if a background image with an alpha layer is added.
  Auto Key			Generates the key signal automatically from the Containers in the Scene Tree, it does not require the application of Key functions to the Container. This function provides a worry-free overlay. This is the preferred mode for overlay graphics.
  External Passthrough			Takes the first active AUX channel and uses the AUX Channel texture directly as preview and as source for the video output. No Viz Engine rendering is done at all. Used by Unreal Render Blade (see Integration with Unreal Engine).
  Libero			The render sequence for a Viz Engine used in with Viz Libero (see Viz Libero, Viz Arena, and Eclipse Render Sequences).
  Arena			The render sequence for a Viz Arena/multi-zone keying setup (see Viz Libero, Viz Arena, and Eclipse Render Sequences).
  Arena Image-Based			The render sequence if the tracked camera is a Viz Arena image tracker (see Viz Libero, Viz Arena, and Eclipse Render Sequences).
  Eclipse			The Viz Eclipse render sequence, based on the Arena Image-Based render sequence with additional functionality for dirty PGM feeds. (see Viz Libero, Viz Arena, and Eclipse Render Sequences).
  External VS			The render sequence for the Unreal Engine Integration (see Integration with Unreal Engine).
  External AR			The render sequence for the Unreal Engine Integration (see Integration with Unreal Engine).
  Arena Image Based Fill & Key			The render sequence if the tracked camera is a Viz Arena image tracker and needs separate fill and key output (see Viz Libero, Viz Arena, and Eclipse Render Sequences).
  Passthrough			Foreground Media Assets are passed directly to the output without any rendering. Needed by third party integrations like Unreal.

• Key Render Mode: (Classic Render Pipeline only)

  • Config: Renders the key according to the settings in the Viz Configuration (see the Configuring Viz section of the Viz Engine Administrator Guide).

  • Single Pass: Uses one rendering step. Use this for all new scenes and for scenes imported from version 2.8, as it is much faster.

  • Double Pass: Uses two rendering steps. Use for backward compatibility in scenes created in Viz Artist versions 3.0 to 3.3.

• Background Color: Sets the color of the background.
  

  

Asset Placement

Shadows

Enables or disables the shadow function in a Scene.

For the Classic Render Pipeline only: The shadow function uses two layers from the mask function. With shadows enabled, there are only six layers available for the mask function (see Mask Source and Mask Target). In a scene where more than six mask layers are needed, shadows can be disabled (only very complex mask configurations need more than six layers). The Stencil shadow type is the least resource-demanding way to render shadows in scenes. For more advanced and better-looking shadows, cascaded shadow maps can be enabled. For more in-depth information on shadows in Viz Artist, please refer to Shadow Maps and Shadow Caster and Shadow Receiver.

Masking

Invert Layers: Makes it possible to set one or more of the mask layers in a Scene to be inverted. With no mask inverted (1), the mask cuts out a hole where it covers the mask target object. With mask invert enabled (2), the mask target is only visible where the mask covers it:

Stage

These settings define, how the timeline is positioned:

• Selected: Sets the timeline of all selected directors to the first found tag selection.

• First: Sets the timeline of the first found director containing the searched tag to the tag position.

• Separate: Sets the timeline for each director, containing the searched tag, to the tag position.

Magnifier

The magnifier is mainly used by Viz Sports products like Viz Libero or Arena. It acts on the last rendered surface. It can be either a rectangle or a circle. The position and size is defined in normalized view-port coordinates.

• Active/Inactive: Sets the magnifier to active or inactive.

• Type: Selects a Rectangle or a Circle for the magnification area.

• Tesselation: Sets the tessellation, if Circle is selected.

• Transformation: Sets the parameters for the Position, Size, Scale and Ellipsis of the magnified area.

• Color: Sets the alpha and the color of the magnified area.

• Container: Selects a Container to control the position and, or, the size of the magnifier. Drag the Container to be tracked in the desired box.
  

  

  
  

  

Developer Settings

Reserved for special settings. These settings should only be used when told so.

To Add an Image

1. Click Asset View.

2. Click the I tab for Images (1).

3. Drag the required image onto the drop zone (2). A thumbnail of the image is shown in the drop zone button. Dragging a new image onto the drop zone automatically replaces the old image.

To Remove an Image

Drag the image from the drop zone to the trash can or double click on the blue label.

To View an Image Source Project or Folder

Click the image on the drop zone. The project or folder it is placed in is visible. If the image is linked, the first project or folder is selected.

To Show/Hide an Image in the Scene Editor

Click the Active/Inactive button next to the drop zone (3). If the image has a different aspect ratio than the screen resolution, the image is stretched to fit.