Videonics MX-1 User manual

The Video Editing Company
VIDEONICS
VIDEONICS
DIGITAL VIDEO MIXER
1
2
3
4
5
6
7
8
9
0
OK
A
B
C
D
COLOR
SETUP
LEARN
CHROMA
KEY
COMPOSE
DISPLAY
DEMO
SHIFT
PLAY
(AUTO TAKE)
FREEZE
SPEED
ZOOM/
P-IN-P
WIPE
FADE /
DISSOLVE
BACK
BORDER
COLOR
COLOR
A
B
C
D
COLOR
AUDIO
VIDEO
INPUT
F/X
CUT
➔
CUT
➔
CUT
➔
CUT
➔
CUT
➔
REVERSE
FLIP
Videonics MX-1 Digital Video Mixer
INSTRUCTION
MANUAL

1. POWER INDICATOR
2. POWER SWITCH
3. TAKE BAR (FOR MANUAL TRANSITIONS)
4. AUTO-TAKE, AUTO-TAKE SPEED, AND VIDEO
FREEZE BUTTONS
5. TRANSITION EFFECT BUTTONS
6. AUDIO/VIDEO SELECTOR AND INDICATOR
7. INPUT EFFECTS (MOSAIC, STROBE, ETC.)
BUTTON
8. 4-INPUT SWITCHER CONTROLS, INDICATORS
9. BORDER AND BACKGROUND COLOR BUTTONS
10. TRANSITION-EFFECT SELECTION BUTTONS,
ARROW KEYPAD
11. PREVIEW MONITOR DISPLAY SWITCH
12. DEMO BUTTON
13. SETUP SCREEN BUTTON
14. SEQUENCER “LEARN” BUTTON
15. CHROMA KEY BUTTON
16. COMPOSE BUTTON
17. SHIFT
18. NEXT-SOURCE SELECTORS
19. ERGONOMIC PALM REST
CONTROLS
INPUT
F/X
PLAY
(AUTO TAKE)
BACK
COLOR BORDER COLOR
AUDIO
VIDEO
ZOOM /
P-IN-P
FLIP
WIPE
FADE /
DISSOLVE
COMPOSE
CHROMA
KEY
DEMO
SETUP
LEARN
DISPLAY
CUT ➔
ABCD
COLOR
7
4
0
8
59 6
123
SPEEDFREEZE
SHIFT
ABCD
COLOR
CUT ➔ CUT ➔ CUT ➔ CUT ➔
VIDEONICS
OK
REVERSE
DIGITAL VIDEO MIXER
23 456 7 9 10 11
12
13
14
15
16
17
18
19
81
REAR PANEL
PREVIEW
OUT POWER
HEAD
PHONE
IN 4
IN 1
IN 2
OUT
IN 3
CONTROL
(GPI)
POWER CONTROL HEADPHONE PREVIEW V —IN 4 —S RLV S RLV S
IN 3
OUT IN 2 IN 1
V
LRV
LRVLRV
LRV
A
B
EC
DFG HI
A. INPUT 1
B. INPUT 2
C. INPUT 3
D. INPUT 4 (VIDEO ONLY)
E. OUTPUT
F. PREVIEW/CONTROL SCREEN OUTPUT
(COMPOSITE VIDEO)
G. HEADPHONE OUT
H. CONTROL INPUT (GPI TRIGGER)
I. POWER
INPUTS 1-3 AND MAIN OUTPUT INCLUDE JACKS FOR S-VIDEO, COMPOSITE (RCA-STYLE) VIDEO, AND RIGHT
AND LEFT AUDIO. JACKS ARE LABELED UPSIDE DOWN AT TOP OF PANEL TO FACILITATE CONNECTIONS
WITHOUT TURNING UNIT AROUND.

Videonics MX-1 Digital Video Mixer
INSTRUCTION
MANUAL
MX-1 Digital Video Mixer Instruction Manual •MANL-0521-02 • © 1994 Videonics, Inc.
The Videonics logo, Thumbs Up, and Videonics Video TitleMaker are registered trademarks
of Videonics, Inc. MX-1 is a trademark of Videonics.
Hi8 is a trademark of Sony Corporation. VHS is a registered trademark of JVC. Other product
and brand names may be trademarks or registered trademarks of their respective companies
and are hereby acknowledged.
Television screens are simulated.
Subject to change without notice.
This device is not to be used for the unauthorized copying of copyrighted material.
Videonics, Inc., 1370 Dell Avenue, Campbell, CA 95008 USA; 408-866-8300
VIDEONICS
DIGITAL VIDEO MIXER
1
2
3
4
5
6
7
8
9
0
OK
A
B
C
D
COLOR
SETUP
LEARN
CHROMA
KEY
COMPOSE
DISPLAY
DEMO
SHIFT
PLAY
(AUTO TAKE)
FREEZE
SPEED
ZOOM/
P-IN-P
WIPE
FADE /
DISSOLVE
BACK
BORDER
COLOR
COLOR
A
B
C
D
COLOR
AUDIO
VIDEO
INPUT
F/X
CUT
➔
CUT
➔
CUT
➔
CUT
➔
CUT
➔
REVERSE
FLIP

Chapter 1 •Introduction ...............1
In a Hurry? ................................................ 1
Helpful Sections ....................................... 1
For More Information ................................ 1
What is a Video Mixer?............................. 2
What is the MX-1? .................................... 2
Applications and Setups .......................... 3
Editing with the MX-1 ............................... 4
Chapter 2 •QuickStart ..................5
Chapter 3 •Installation ............. 10
Connections: Overall Concept............... 10
What You’ll Need .................................... 10
Types of Input and Output Jacks .......... 11
Types of Cables Used with
the Video Mixer .................................... 12
How Many Monitors? .............................. 12
IN and OUT Markings ............................ 13
Connecting Power, Outputs, Monitors... 13
Connecting Sources............................... 15
Chapter 4 •
Connecting Editing Equipment .18
Processing the Inputs vs. the Output .... 18
Adding Titles .......................................... 19
Audio Mixing........................................... 19
Edit Control ............................................. 19
Chapter 5 •Setup Screen .......... 20
Defaults................................................... 20
Automatic Connection............................ 20
Routing the Inputs .................................. 21
The Setup Screen................................... 21
Advanced Setup..................................... 22
Chapter 6 •Basic Controls........ 25
Built-In Demo.......................................... 25
The PREVIEW Screen............................. 25
Source Previews..................................... 26
Preview Image Quality ........................... 26
CURRENT and NEXT Source Selection. 26
Transition Controls ................................. 26
Viewing a Transition ............................... 27
Switching the Display............................. 27
Video Quality .......................................... 27
Chapter 7 •Switching (Cuts)..... 28
Switching to a Specific Source .............. 28
Cutting Back and Forth .......................... 28
Soft Cuts ................................................. 29
Chapter 8 •Transitions .............. 30
The Basic Concept................................. 30
Which Source is Which?......................... 31
Changing the CURRENT Source ........... 31
Choosing the NEXT Source ................... 31
Choosing the Transition Effect............... 32
Executing the Transition......................... 33
Setup for the Next Transition ................. 34
Performing the Next Transition .............. 34
Reverse................................................... 34
Chapter 9 •Audio Control.......... 36
Connecting Sound Sources ................... 36
The AUDIO/VIDEO control ..................... 36
Choosing a Sound Source ..................... 36
Sound Source Indicators ....................... 36
Sound Strategies .................................... 37
Headphones ........................................... 38
Chapter 10 •
Borders and Backgrounds ......... 39
The Solid Color Background.................. 39
Choosing Colors..................................... 39
Turning the Border On and Off .............. 40
Defining a Color...................................... 40
Chapter 11 •Input Effects......... 42
Defining Input Effects............................. 42
Chapter 12 •Freeze .................... 45
Stop Motion............................................. 45
Chapter 13 •Chroma Key........... 46
What is Chroma Key ?............................ 46
Advanced Feature.................................. 46
An Example ............................................ 46
Setting up the Picture for Chroma Key .. 47
Hints for Chroma Key Setup .................. 47
Performing a Chroma Key...................... 48
Ending Chroma Key ............................... 50
Contents

Chapter 14 •More Effects......... 51
Tint Effect................................................ 51
The “Thin Man” Effect............................. 51
Luminance Key....................................... 51
“Film Look” Effect ................................... 52
Color Bars............................................... 52
Black-Burst Generator............................ 52
Color Generator...................................... 53
Chapter 15 •
Picture-In-Picture (PIP) ............. 54
Definitions ............................................... 54
Applications............................................ 54
Creating a PIP Image ............................. 54
Ending PIP Mode.................................... 56
Chapter 16 •Compose ................ 57
What is Compose? ................................. 57
Rules for Compositions .......................... 58
Choosing the Background ..................... 58
Positioning and Sizing an Element ........ 58
Placing the Element ............................... 59
Adding More........................................... 60
Making Changes .................................... 60
Recording the Result.............................. 60
Ending Compose Mode ......................... 60
Chapter 17 •
Sequences (LEARN mode) .......... 61
What is LEARN Mode? ........................... 61
Notes....................................................... 61
Learning a Sequence............................. 61
Playing the Sequence ............................ 62
Ending Sequence Playback................... 62
Changing the Sequence ........................ 62
Number of Steps .................................... 62
Chapter 18 •TBC ......................... 64
Skip This Chapter? ................................. 64
What is a TBC? ....................................... 64
Using the TBC ........................................ 64
Dual TBC Mode ...................................... 64
Frame Rate Lock Setting........................ 64
Vertical Interval Data .............................. 65
Answers About the MX-1’s TBC............. 65
Contents
Chapter 19 •
Editing and Other Applications 67
Live Mixing ............................................. 67
Editing with Untimed Sources................ 67
Loosely Synchronized Tapes................. 67
Single-Source (A/A) Editing ................... 68
A/B Roll Editing....................................... 69
Titles ....................................................... 70
Other Accessories.................................. 71
GPI Trigger ............................................. 71
Automatic Input Scan Mode .................. 71
Chapter 20 •Video Quality ........ 72
Preview Image Quality ........................... 72
Video Scaling Artifacts ........................... 72
Slide/Compress Motion Effects.............. 72
Freeze Quality ........................................ 73
Upside-Down Video ............................... 73
Video Processing Artifacts..................... 73
Chapter 21 •Specifications...... 74
Chapter 22 •Glossary................. 75
Chapter 23 •Effects List ........... 81
Terms and Abbreviations ....................... 81
“Top 30” Effects...................................... 81

VIDEONICS DIGITAL VIDEO MIXER PAGE 1
Chapter 1 •Introduction
Congratulations on your purchase of the Videonics MX-1 Digital
Video Mixer. The MX-1 combines everything you need to work with
multiple video sources: A four-input video production switcher,
video mixer (dissolve unit), frame synchronizer/TBC (Time Base
Corrector) and special effects generator.
In a Hurry?
If you want to get started quickly, see the QuickStart section, Chapter 2.
Helpful Sections
The MX-1 is a sophisticated video production tool. Some of the concepts
used in this manual may be new to you. You may wish to consult these
sources:
• The Digital Video Primer (a separate pamphlet, included with the MX-1)
explains the basic concepts of mixing video signals and using digital
special effects.
• The Glossary section of this manual defines the specialized terms used in
the manual.
• A complete index is included at the back of this manual. It refers you to
appropriate pages in the Digital Video Primer as well as to the appropriate
sections of this manual.
For More Information...
...send in your registration card so we can keep you informed of new
developments and send you our newsletter*. Note that Videonics does not
sell its mailing list. Your name and address will remain confidential.
*The newsletter and certain other services are available for Videonics customers in the U.S.
and Canada. Elsewhere, contact your Videonics distributor or retailer.

PAGE 2 VIDEONICS DIGITAL VIDEO MIXER
What is a Video Mixer?
The Digital Video Primer explains mixer basics in detail but here is an
overview.
❷
❶
In the simplest form of video production, a video tape is played by one
machine (∂) and the resulting signal is recorded on a blank tape by a second
machine (∑). The player and recorder are coordinated (either manually or
automatically) so that the desired video material is recorded on a blank tape.
Note that there is only one source of incoming video and only one picture is
on the output screen at any given moment.
More advanced video productions use two sources of video (∂) and mix
them together:
❷
❸
❶
VIDEONICS
DIGITAL VIDEO MIXER
With the inclusion of a video mixer (∏), a wonderful thing happens: You
can put two sources on the screen at once. For instance, you could show a
great pass on one side of the screen and the coach’s reaction on the other. Or
you might begin your production with a shot of the ball and have it slowly
fade away while a long shot of the playing field fades in (a dissolve). Many
other transitions and effects are possible.
A video mixer is required to make this happen. It provides the electronics
needed to mix two signals and has controls that allow you to select which
source or sources are being sent to the recorder (∑) and which transitions are
being used.
A mixer can be used with great benefit in simple setups as well as complex
ones, but its use is required whenever two sources will share the screen.
What is the MX-1?
The MX-1 is a video mixer with many additional features. (See the Glos-
sary and Digital Video Primer for descriptions of the following functions.)
Four-Input Synchronized Switcher. The MX-1 has four inputs, not just
two, so you can leave all your sources connected. This capability is also
handy for live production settings in which up to four cameras or other
sources are available. The switcher is synchronized, which means there are no
picture disruptions when sources are switched.
Frame Synchronizer and Mixer. Any two inputs can be mixed together
using a variety of transitions (wipes, dissolves, etc.). The frame synchronizer
makes it possible to mix independent video signals.

VIDEONICS DIGITAL VIDEO MIXER PAGE 3
Picture-in-Picture (PIP). Two pictures can share the screen in various
configurations, including picture-in-picture, in which one source occupies a
small area and the other takes the rest of the screen. Example: The inset can
show the scoreboard while the rest of the picture shows the playing field.
Effects Generator. Effects can be used to enhance a source or to transition
between two sources.
TBC (Time Base Corrector). The time base of the MX-1’s output is always
automatically corrected. This makes the picture stable even when the inputs
are not.
Chroma Key and Luminance Key. “Keying” replaces parts of one picture
with another, based on their lightness (luminance key) or color (chroma key).
For example, you might shoot a picture of a football player in front of a solid
color screen and later show the shot with a shot of the football stadium keyed
into the solid color area behind.
Compose. The MX-1 includes a video painting system which can combine
video stills, color shapes, and moving video on one screen. You could create a
screen that contains a video still of the coach with a red border, combined
with a moving video of the players in action and stripes in the team colors.
Audio Mixer. Basic audio control is provided, with the ability to have the
sound change along with the video, or to have a constant sound source while
the picture changes. Audio can come from a video source or from external
audio devices.
Applications and Setups
The most common uses of the MX-1 are for video production and live
settings. Chapter 19, “Editing and Other Applications,” describes these func-
tions in more detail and explains how they are accomplished with the MX-1.
Multiple-Source Video Production. In a video production setup, one or
more VCRs, camcorders, video disc players, cameras, title generators, com-
puter graphics systems, or other video sources are connected to the MX-1’s
four inputs. The output is connected to a VCR which records the result.
The MX-1 determines what will be sent to the recording VCR. While the
original tapes play, the operator can switch between any of the inputs; use
dissolves or other transitions to go from one video to another; add special
effects to any source; and use advanced features such as compose and chroma
key to jazz up the production.
Single-Source Use. The MX-1 is useful even when there is only one video
tape playing. It supports A/A roll, a method for creating interesting transi-
tions with a single source, and its digital effects, such as picture freeze,
posterization, and zooms, can liven up any production. It can be used with a
titler to mix and superimpose titles. The TBC improves the picture, especially
when making multiple-generation copies, by removing the jitter that is
common to most VCRs. And the Compose feature can be used to create
additional images that can enhance the production.
Live Video. In a live production setup, an event is recorded as it occurs.
The Mixer allows the use of multiple cameras. While a single camera is

PAGE 4 VIDEONICS DIGITAL VIDEO MIXER
restricted to one point of view, multiple cameras catch more of the action. For
instance, a camera at the end of the field can be connected to one input while
a camera at the side goes to another. A third might be aimed at the an-
nouncer. The operator can switch or transition between them as the action
progresses. Taped sources can be included, too. Perhaps a VCR loaded with
shots of the ball players practicing could be used at appropriate moments. A
titler could be used to superimpose titles on the action.
Editing with the MX-1
Note that the MX-1 is not an edit controller — that is, it does not control
the VCRs and camcorders. You can control the decks manually or by using
an external edit controller (such as those made by Videonics). See Chapter 19,
“Editing and Other Applications” for more information.
In addition, the MX-1 can be used with other video production equip-
ment, such as title generators and video processors. Contact Videonics for
more information on its full line of video production equipment.

VIDEONICS DIGITAL VIDEO MIXER PAGE 5
Chapter 2 •Chapter 2 •QuickStart
Whether you’re a video expert looking for just the basic steps or a
beginner who wants instant gratification, this chapter will have you
mixing in minutes! If you run into problems or would like more
information, refer to the table of contents or the index to locate a
more complete discussion.
PREVIEW
OUT POWER
HEAD
PHONE
IN 4
IN 1
IN 2
OUT
IN 3
CONTROL
(GPI)
POWER CONTROL HEADPHONE PREVIEW V —IN 4 —S RLV S RLV S
IN 3
OUT IN 2 IN 1
V
LRV
LRVLRV
LRV
VIDEO
OUT AUDIO OUT VIDEO OUT AUDIO OUT
A
BC DEF
VIDEO
IN AUDIO IN VIDEO IN
Setup and Installation
• Connect the power supply (F) and turn the unit on, confirming that
the power light comes on.
• Connect the MX-1’s OUT jacks to the VIDEO and AUDIO IN jacks of a
VCR (D). Connect a television/monitor to the VCR in the normal
fashion (A), so that you will be able to see the VCR’s output. Turn the
television and VCR on.
• Connect the MX-1’s PREVIEW OUT jack to the VIDEO IN jack of a
second monitor (E).
Note: These instructions assume a two-monitor setup. If you are using only
one monitor, connect it to PREVIEW.
• Connect a camcorder, VCR or other source to IN 1 (B). Connect a
second source to IN 2 (C). Turn on the video sources and start the
tapes rolling.
• Press SHIFT and AUDIO/VIDEO at the same time and the MX-1 will
automatically find and use the inputs that have video signals con-
nected.
Demo
• Press DEMO. You should see the two sources alternating, with a variety
of transition effects in between. (If only one source is connected, the
demo will perform transitions from that source to itself.)
DEMO

PAGE 6 VIDEONICS DIGITAL VIDEO MIXER
• Press any key to stop the demo.
The PREVIEW screen
• You should see the following (with some slight differences) on the
PREVIEW monitor screen:
A
D
E
F
C
H
J
B
G
A
D
E
F
C
H
J
B
G
• This screen shows you four preview images (B) — these are your video
inputs in miniature.
Note that the preview images are reduced size and frame rate (that is,
they don’t change as quickly as a single-source video monitor’s im-
age). Depending on the type of video connected to the inputs, you
may also see lines outside the preview images. Preview image quality
does not affect the output.
• The PREVIEW screen shows you the three most important things you
need for accomplishing a transition:
Which input is the CURRENT source (A) — that is, which one is
currently on the OUTPUT monitor. The current source is highlighted in
yellow.
The NEXT source (C) — that is, the one that will appear on the
OUTPUT monitor after the transition is complete. The NEXT source is
highlighted in green.
An array of symbols (G), each of which represents an effect that can be
used when transitioning between sources. A blue highlight (D) shows
which effect will be used next.
• The PREVIEW screen also shows the speed (E) and direction (F) that
will be used for the next transition and the background (H) and border
(J) colors.
Cutting Between Sources
• Press CUT→A. The light above the button will come on and the
OUTPUT monitor will show whatever is plugged in to the input labeled
CUT ➔
A
B
CUT ➔

VIDEONICS DIGITAL VIDEO MIXER PAGE 7
IN 1. The yellow highlight above preview A tells you A is currently the
active input.
• Press CUT→B. The B light will come on and the OUTPUT monitor will
show whatever is plugged into IN 2. B should be highlighted in yellow.
• If you have anything plugged into IN 3 or IN 4, the sources can be seen
by pressing CUT→C or CUT→D.
Borders and Solid Color Backgrounds
• Press CUT→COLOR. The word COLOR above the color sample will
highlight and the light above the button will come on. The OUTPUT
monitor will show a solid color screen.
To change the color, press BACK COLOR. Each time you press it, the
color will change in the background color sample (H) and at the
output. Continue to press the button until you see a color you like.
• You can also define a border to be used at the edge of most wipes.
Press BORDER COLOR and the color around the background color
sample (J) will show you the new choice.
• You can define your own colors as well. See Chapter 10, “Borders and
Backgrounds.”
Setting up a Transition
• Now, let’s switch from one video source to another using a transition
in between. We will go from A to B using a horizontally-moving curtain
wipe.
• Switch to A by pressing CUT→A.
• Pick the NEXT source (the one you want to see after the transition is
complete). In this case, we want to go to B, so press the B button at the
bottom of the control panel (not the CUT→B button).
ABCD
COLOR
A green highlight appears below preview image B and the light above
the CUT→B button flashes to tell you B is the NEXT source. Nothing
else happens on the screen because right now, you are only setting up
the transition.
• Next, choose the wipe effect by highlighting the appropriate symbol in
the effect palette. The fastest way to do this is to press WIPE. This
highlights the symbol for effect 30, the most common wipe, a horizon-
tally-moving wipe. In this case, however, we want a different wipe. Use
the down-arrow key to highlight transition effect number 40. The
screen should look like this (although the direction and speed indica-
tors may be different):
COLOR
CUT ➔
CD
CUT ➔ CUT ➔

PAGE 8 VIDEONICS DIGITAL VIDEO MIXER
• The screen now shows: The CURRENT source (A), the NEXT source (B),
and the desired effect (the horizontally-moving curtain wipe). Press
PLAY and the wipe will occur. Both the PREVIEW and OUTPUT screens
show the results.
• Notice that at the end of the wipe, B is on the OUTPUT monitor — it
has become the CURRENT source. The yellow highlight above the
preview images has changed to reflect that. Furthermore, A is now the
NEXT source and the green highlight has been changed to A.
You can easily wipe back and forth between A and B: Simply press PLAY
again and again.
Performing Transitions
• The PLAY button causes the effect to occur automatically at a fixed
speed. To change speeds, press the SPEED button. The speed indicator
under the transition effect will change. Press the button again until the
desired speed is displayed. 0 is the slowest speed, 9 is the fastest.
Try this now with various speeds: Change the speed and press PLAY.
• You can also use the manual control (the “T-bar,” or “Take Bar”) to
control the transition. To do this, set up the transition normally but
instead of pressing PLAY, simply move the bar. Nothing will happen
until the bar is all the way up or all the way down. Then the transition
will begin as you move the bar. You can move back and forth as you
wish. Try it!
• Most video productions use simple cuts a majority of the time. To cut
between any two sources (for instance, you could cut from A to C to
COLOR to D), use the CUT buttons.
There’s a quick way to cut back and forth between two sources (such
as A to B to A to B) using just the PLAY button, instead of having to
alternate between two CUT buttons:
• Press 0 to select effect 0 (the simple cut).
• Press PLAY again and again.
SPEED

VIDEONICS DIGITAL VIDEO MIXER PAGE 9
• A solid color screen can be used as if it were a separate source. Press the
COLOR button at the bottom right and perform any effect, or use
CUT→COLOR.
Choosing Transition Effects
• Next, let’s try some other effects and different ways to select them.
The PREVIEW screen presents a “palette” of symbols, each represent-
ing a transition effect. A blue highlight shows which effect will be used
for the next transition.
Note that the first 30 symbols represent commonly used effects. You
may find that the majority of your work can be done with just these 30.
There are three ways to select an effect:
1 Using the arrow keys
Simply use the arrow keys to highlight the desired effect.
2 Using the number keys.
Every transition effect has a number, displayed on the PREVIEW screen
beneath the effect’s symbol. You can use the numbers to choose
effects. Try this now:
1 Press CUT→A to choose A as the CURRENT source.
2 Press B to make B the NEXT source.
3 Enter 106 using the number keys (press 1 then 0 then 6). You can
press OK to highlight the symbol, but it’s not necessary.
4 Press PLAY.
As you use the MX-1, you will memorize the numbers of the effects you
use the most. A list of effects is in the back of this manual and on the
Reference Card.
3 Using the large effect buttons.
The large effects buttons are a convenient way to locate some com-
mon effects families. Press WIPE, for instance, and the most basic wipe
is instantly highlighted. Press FLIP to choose a flip effect.
Similar effects are grouped together, making it easy to locate other
effects. Simply press a large effect button (such as WIPE) to select the
kind of effect you want, then use the arrow keys to select the exact
variation.
More...
Refer to the rest of this manual to learn about the many additional
features of the MX-1. You can:
• Freeze the picture.
• Separately control the sound.
• Apply input effects such as mosaic, paint (posterization), negative, and
more.
• Use chroma key and luminance key to combine parts of one picture
with parts of another.
• Compose your own pictures, made up of several stills, color rectangles,
and a moving picture.
• Rearrange the inputs so A, B, C, and D, and their audio channels come
from different rear panel jacks.
• Memorize a sequence of effects and play it back automatically.
ZOOM /
P-IN-P
FLIP
WIPE
FADE /
DISSOLVE
7
4
0
8
5
9
6
123

PAGE 10 VIDEONICS DIGITAL VIDEO MIXER
Chapter 3 •Chapter 3 •Installation
Connections: Overall Concept
VIDEONICS
DIGITAL VIDEO MIXER
INPUTS OUTPUT
PREVIEW
AB
C
The MX-1 Digital Video Mixer can accept up to four audio/video sources.
It can send any of these to the output and can perform transitions between
any two sources.
The output is sent to a VCR and/or monitor (called the OUTPUT monitor).
A second monitor, called the PREVIEW monitor, is used to display all the
inputs in preview form. The PREVIEW monitor also shows the on-screen
controls used to operate the unit.
This chapter describes how to connect the inputs, outputs, and monitors.
Chapter 4, “Connecting Editing Equipment” goes further, explaining how to
attach editing equipment, such as an edit controller or title generator.
What You’ll Need
AOne or more video sources. Any standard video source with composite
(RCA-style) or S-video (Y/C) outputs can be used, including VCRs,
camcorders, cameras, video disc players, title generators, and computers
with television outputs.
BA PREVIEW monitor and/or an OUTPUT monitor. (You can work with a
single monitor but having two will make your work faster and easier. See
the section later in this chapter, “How Many Monitors?”)

VIDEONICS DIGITAL VIDEO MIXER PAGE 11
The PREVIEW monitor needs a composite (RCA-style) video input.
The OUTPUT monitor will be connected to your recording VCR (C) in
most cases. Required connections depend on the VCR. You can use any
arrangement that will allow you to view tapes played on the VCR.
CA Record VCR. In a live setup, in which the results will be displayed
without being recorded, the VCR is optional, but most setups will include
the VCR.
• Video Cables. You will need at least one video cable for each input plus
one to connect the PREVIEW monitor and one to connect the Record VCR.
You will also need a cable to connect the OUTPUT monitor to the Record
VCR. The next section describes the types of cables.
Types of Input and Output Jacks
S-VIDEO AUDIO
AUDIOVIDEO ANTENNA
ANT
INPUT
AUDIOVIDEO
❶❷❸❹
Video equipment commonly uses these cable types:
∂Composite (RCA-style) video and audio
∑S-video (Y/C)
∏BNC video, used in some professional equipment
πRF cables (Coaxial cable and twin-lead antenna cable)
Audio
RF cables carry the audio signal along with the video. All the others
require a separate audio cable.
A stereo audio device (with separate L and R inputs or outputs) is con-
nected using two RCA-style cables. A mono audio device is connected using
one RCA-style cable.
You may also need a Y-cable if you plan to connect a mono output to both
channels of a stereo device; or to connect a stereo output to a mono input.
Y-cable

PAGE 12 VIDEONICS DIGITAL VIDEO MIXER
Types of Cables Used with the Video Mixer
•PREVIEW. The PREVIEW monitor must be connected via a composite
(RCA-style) cable.
•OUTPUT. You can connect the Mixer’s output to a monitor or VCR using
either an S-video (Y/C) or composite (RCA-style) cable. If you have a
choice, S-video is better than composite.
•Record VCR to OUTPUT monitor. If you are using a Record VCR with the
Mixer, the OUTPUT monitor can be connected to the VCR using an RF
(antenna/cable type) cable, composite (RCA-style) cable, or S-video (Y/C)
cable, depending on what types of jacks are available on the VCR and
monitor. If you have a choice, S-video is better than composite and com-
posite is better than RF.
•Sources. All other video devices can be either S-video or composite. If you
have a choice, S-video is better than composite.
•Mixed types.
If the output is connected using S-video jacks, you can mix cable types, using
composite for some inputs and S-video for others.
If the output is connected using composite (RCA-style) jacks, use composite for
all inputs as well. This will give a slightly better picture quality.
•BNC. If you plan to use equipment with BNC jacks, you will also need
RCA-BNC adapters.
•Audio. The Mixer uses RCA-style cables for all audio channels.
How Many Monitors?
Normally, the MX-1 is used with two monitors.
• The PREVIEW monitor contains the on-screen controls and previews of
all four inputs.
• The OUTPUT monitor shows the output, complete with all effects and
transitions, exactly as it will be recorded or displayed.
Single Monitor Setup
You can omit the OUTPUT monitor and use only a single monitor, con-
nected to the PREVIEW output jack. With this setup, you will still see all the
pertinent action because the PREVIEW screen shows transitions while they
are being performed. However, dual monitors are recommended because:
• The OUTPUT monitor always shows you what is really being recorded or
displayed.
• Since the OUTPUT monitor doesn’t change to preview mode between
transitions, productions are easier to visualize.
• The PREVIEW monitor uses composite (RCA-style) jacks only.

VIDEONICS DIGITAL VIDEO MIXER PAGE 13
It is possible to work with an output monitor and no PREVIEW monitor.
This is not a recommended setup because it requires you to work “blind,”
without the benefit of the on-screen controls or input previews.
More Than Two Monitors
You can add a monitor for each input as well. Input monitors are used
when you need a constant full screen, high-quality view of the inputs. Con-
necting the input monitors is explained later in this chapter.
IN and OUT Markings
IN
OUT IN
OUT
Hint: Always connect the OUT jack of one device to the IN jack
of the next. Never connect two OUTs together.
Connecting Power, Outputs, Monitors
PREVIEW
OUT POWER
HEAD
PHONE
IN 4
IN 1
IN 2
OUT
IN 3
CONTROL
(GPI)
POWER CONTROL HEADPHONE PREVIEW V —IN 4 —S RLV S RLV S
IN 3
OUT IN 2 IN 1
V
LRV
LRVLRV
LRV
A
BCD EF
VIDEO
IN AUDIO IN VIDEO IN
Example Power and Output Connections
■Connect the power supply (F) to the POWER input and plug it into a
working power outlet. Be sure to use the power supply that came with the
Mixer. Others, including the ones supplied with other Videonics products, may
damage the unit and void the warranty.
Move the POWER switch on the front panel to the ON (up) position and
the light above the switch will come on.

PAGE 14 VIDEONICS DIGITAL VIDEO MIXER
■Connect the OUTPUT monitor to the MX-1 OUTPUT jacks:
•If you will be recording the Mixer’s output (as in a video production
setup), connect the MX-1 video OUT to the VIDEO IN of the Record VCR
(B). Then connect a television or monitor to the Record VCR (A), as
described in the manual that came with the VCR.
You can use either S-video (Y/C) or composite (RCA-style) cables to
connect the MX-1 to the VCR. You can use S-video, composite, or RF
(cable/antenna) cables to connect the VCR and the television/monitor.
Connect the MX-1 audio OUT (marked L and R) to the Record VCR’s
AUDIO IN (C).
•If you will not be recording the Mixer’s output, connect the MX-1 video
OUT to the VIDEO IN of a monitor. You can use S-video (Y/C) or compos-
ite (RCA-style) cables for this connection. If you are using a television with
no VIDEO input (that is, it has only an RF (cable/antenna) jack, you will
need a VCR or an “RF modulator” to connect the MX-1 to it.
Connect the MX-1 audio OUT (marked L and R) to the monitor’s AUDIO
IN or to an external amplifier and speakers.
■Set the OUTPUT monitor’s input switch.
If the television/monitor you are using has an input selection switch, set it
so it is displaying the correct input. For instance, if you have connected to
the monitor’s VIDEO 1 input jack, you would choose VIDEO 1 as your
input. Refer to the manual that came with your monitor for details.
■Set the Record VCR input.
This step is important. Set the VCR’s controls so that it will record what-
ever comes into its VIDEO IN jack, rather than recording a broadcast
channel. Different VCRs use different methods to do this. Your VCR’s
manual should explain how, probably in a section that discusses copying
tapes from a camcorder. Here are some common examples:
• Most VCRs have an input selector switch that goes between LINE (or AUX,
EXT, A/V, or S) and TUNER:
CAMERA
EXT
TUNER
AUDIO 2
TV / LINE
S-VHS TUNER
INPUT SELECT
LINEAUX TUNERSC
SOURCE SELECT
Set the switch to LINE. Some VCRs have more than one VIDEO IN jack
(perhaps one is S-video and one is composite). Set the switch to match the
jack you are using to connect to the MX-1.
• Some use a button on the remote control or an on-screen menu to choose
an external line source.

VIDEONICS DIGITAL VIDEO MIXER PAGE 15
• Others require that you choose a special channel (like 99 or A1).
• Still others switch automatically when you plug the cable into the VIDEO
IN jack.
■Check the connections.
Turn the MX-1, VCR, and television on and press DEMO. You should see a
series of images with various transitions between them. Press DEMO
again to stop the demo.
■Connect the PREVIEW monitor.
Connect the MX-1’s PREVIEW OUT to the VIDEO IN jack of the PREVIEW
monitor (D) using a composite (RCA-style) cable. (If the monitor only has
an RF (cable/antenna) jack, you will need a spare VCR or an RF modulator
to convert the RCA-style output to RF.)
■Test the PREVIEW connection.
Turn the PREVIEW monitor on. You should see the PREVIEW screen:
■Connect headphones.
If you wish to use headphones, connect them to the HEADPHONE jack
(E). The headphone jack accepts standard stereo headphones with a min-
iature plug, but the output is monaural (a mix of right and left channels),
not stereo.
■CONTROL (GPI).
The CONTROL (GPI) input allows the Mixer to be triggered by GPI-
equipped edit controllers. It is described in Chapter 19, “Editing and Other
Applications.”
Connecting Sources
Video sources include camcorders, VCRs, laserdisc players, cameras, sat-
ellite tuners, broadcast tuners/receivers, video-equipped computers, etc. They
may have S-video (Y/C) or composite (RCA-style) output jacks. RF sources
(cable TV, antenna, “channel 3/4,” or other modulated sources) must be