[1] START, RECORD, STOP, SAVE SESSION
// SLIDE 01: TITLE.

IN THIS VIDEO, WE ARE GOING TO WALK THROUGH THE CORE RECORDING WORKFLOW IN PODCART.
THIS IS THE FIRST THING EVERY OPERATOR NEEDS TO UNDERSTAND, BECAUSE THE REST OF THE SYSTEM ASSUMES YOU KNOW WHEN A SESSION IS OPEN, WHEN RECORDING IS ENABLED, AND HOW TO FINISH CLEANLY.
THINK OF THE SESSION AS THE CONTAINER FOR THE WHOLE RECORDING.
IT GIVES THE RECORDING A NAME, STORES THE OWNER OR DELIVERY EMAIL, KEEPS TRACK OF RECORDING PARTS, AND GIVES THE RECORDER A CLEAR THING TO FINALIZE AT THE END.

// ADVANCE TO SLIDE 02: RUNTIME CHECK.

BEFORE FILMING THE SESSION WORKFLOW, MAKE SURE RECORDER-API IS RUNNING.
THE INTERFACE CAN LOAD WITHOUT IT, BUT THE SESSION LIST, STORAGE STATUS, AND RECORDING DETAILS DEPEND ON THE RECORDER SERVICE.
IF RECORDER-API IS NOT RUNNING, THE OPERATOR MAY SEE RECORDER ERRORS INSTEAD OF A CLEAN TRAINING VIEW.

// ADVANCE TO SLIDE 03: RECORDING STRIP.

PODCART KEEPS THE RECORDING CONTROLS VISIBLE IN THE TOP BAR.
WHEN THERE IS NO ACTIVE SESSION, THE RECORD BUTTON IS DISABLED.
THAT IS INTENTIONAL.
THE SYSTEM DOES NOT LET YOU START RECORDING UNTIL THE RECORDING HAS A SESSION NAME, AN OWNER EMAIL IF CLOUD RECORDING IS ENABLED, AND A PLACE TO TRACK THE FILES.
THIS PREVENTS ANONYMOUS RECORDINGS THAT ARE HARD TO IDENTIFY LATER.

// ADVANCE TO SLIDE 04: SESSION MENU AND START MODAL.

TO BEGIN, OPEN THE SESSION MENU ON THE RIGHT SIDE OF THE TOP BAR.
CHOOSE START SESSION.

// POINT TO THE START SESSION MODAL.

IN NORMAL USE, LEAVE CLOUD RECORDING ENABLED.
ENTER THE RECIPIENT EMAIL ADDRESS.
THEN ENTER A CLEAR SESSION NAME THAT IDENTIFIES THE SHOW, CLIENT, ROOM USE, OR EVENT.
A GOOD SESSION NAME IS SOMETHING ANOTHER PERSON CAN UNDERSTAND TOMORROW WITHOUT ASKING YOU WHAT HAPPENED IN THE ROOM.
IF CLOUD RECORDING IS TURNED OFF, THIS BECOMES A LOCAL-ONLY RECORDING.
THAT MEANS PODCART WILL NOT HANDLE THE NORMAL CLOUD UPLOAD AND DELIVERY FLOW FOR THIS SESSION.
LOCAL-ONLY RECORDING CAN BE USEFUL FOR SPECIAL CASES, BUT THE FILES MAY NEED A SEPARATE RECOVERY OR HANDOFF AFTER THE SESSION.

// PAUSE ON THE CLOUD CHECKBOX.

AFTER THE SESSION STARTS, THE TOP RECORDING STRIP BECOMES ACTIVE.
THE SESSION NAME APPEARS IN THE STRIP.
THE TIMER STARTS FROM ZERO WHEN RECORDING BEGINS.
THE PART COUNTER SHOWS WHICH RECORDING SEGMENT IS ACTIVE.
IF RECORDING IS STOPPED AND STARTED AGAIN, THE PART NUMBER HELPS IDENTIFY SEPARATE SEGMENTS FROM THE SAME SESSION.

// POINT TO RECORD, TIMER, AND PART NUMBER.

PRESSING THE RECORD BUTTON STARTS RECORDING.
PRESSING IT AGAIN STOPS RECORDING.
IF A RECORDING COMMAND IS IN PROGRESS, THE BUTTON MAY SHOW A LOADING STATE WHILE PODCART WAITS FOR THE RECORDER TO CONFIRM THE CHANGE.
WAIT FOR THE INTERFACE TO SETTLE BEFORE PRESSING AGAIN.
RAPID REPEATED CLICKS MAKE IT HARDER TO KNOW WHICH STATE THE RECORDER IS ACTUALLY IN.

// OPEN THE APP MENU AGAIN.

AT THE END OF THE SESSION, OPEN THE MENU AGAIN.
SAVE AND SEND FINALIZES THE SESSION AND QUEUES THE FILES FOR BOUNCE AND UPLOAD WHEN CLOUD RECORDING IS ENABLED.
DELETE SESSION REMOVES UNSENT RECORDER FILES AND SHOULD ONLY BE USED WHEN YOU ARE SURE THE SESSION IS NOT NEEDED.
EXIT CLOSES THE ROOM VISIT AFTER THE ACTIVE SESSION IS COMPLETE.
RELOAD CONTROLS IS ONLY FOR REFRESHING THE INTERFACE IF THE CONTROLS NEED TO BE RELOADED.
SO THE WORKFLOW IS SIMPLE: OPEN A SESSION BEFORE RECORDING, USE THE TOP STRIP TO START AND STOP RECORDING, AND FINALIZE THE SESSION FROM THE MENU WHEN THE RECORDING IS DONE.
DO NOT LEAVE A FINISHED SESSION OPEN UNLESS ANOTHER OPERATOR IS ACTIVELY TAKING OVER.

[2] MIXER BASICS
IN THIS VIDEO, WE ARE LOOKING AT THE MAIN MIXER SCREEN.
THIS IS THE SCREEN PODCART OPENS BY DEFAULT AFTER THE ROOM IS OPEN, SO OPERATORS SHOULD TREAT IT AS HOME BASE.
IF YOU GET LOST IN ANOTHER PART OF THE INTERFACE, THE MIXER TAB IS THE FASTEST WAY BACK TO THE FAMILIAR OPERATING VIEW.

// ADVANCE TO SLIDE 05: MIXER BASICS.

THE MIXER SHOWS THE WORKING AUDIO CHANNELS FOR THE ROOM.
IN THE CURRENT STUDIO A CONFIGURATION, THE VISIBLE CHANNELS ARE MIC 1 THROUGH MIC 8, PLUS ZOOM AND VIDEO.
THOSE LABELS MATTER.
THEY ARE THE FIRST THING TO CHECK WHEN SOMEONE SAYS A SOURCE IS TOO LOUD, TOO QUIET, MISSING, OR FEEDING THE WRONG PLACE.

// POINT ACROSS THE CHANNEL LABELS.

THESE FADERS ARE THE OPERATOR-FACING CONTROLS FOR BALANCING WHAT IS BEING SENT THROUGH THE SYSTEM.
MAKE SMALL CHANGES.
PAUSE LONG ENOUGH TO HEAR THE RESULT.
THEN ADJUST AGAIN IF NEEDED.
THE GOAL IS TO KEEP THE CONVERSATION CLEAR AND CONSISTENT, NOT TO CHASE EVERY TINY LEVEL CHANGE.
THE IMPORTANT THING HERE IS NOT EVERY INTERNAL AUDIO DETAIL.
THE GOAL IS TO RECOGNIZE THE CHANNELS, MAKE SMALL FADER CHANGES, AND KEEP AN EYE ON THE RECORDING STRIP ABOVE THE MIXER.

// POINT BACK TO THE TOP STRIP.

THE TOP STRIP REMAINS VISIBLE WHILE MOVING THROUGH PODCART.
IT SHOWS THE AUDIO LABEL, THE RECORD BUTTON, THE SESSION NAME, ELAPSED TIME, AND PART NUMBER.
WHEN THERE IS NO ACTIVE SESSION, THE RECORD BUTTON IS DISABLED AND THE OVERLAY SAYS START SESSION TO ENABLE RECORDING.
THAT IS THE SYSTEM TELLING YOU RECORDING CONTROLS ARE INTENTIONALLY LOCKED UNTIL A SESSION EXISTS.
WHEN RECORDING IS ACTIVE, THIS STRIP IS THE QUICKEST WAY TO VERIFY THAT THE SESSION IS ACTUALLY ROLLING.
FOR A SIMPLE OPERATOR CHECK, ASK THREE QUESTIONS.
IS THE RIGHT SESSION NAME SHOWING?
IS THE TIMER MOVING?
ARE THE EXPECTED AUDIO CHANNELS VISIBLE?
IF SOMETHING FEELS WRONG, DO NOT START IN ADVANCED CONTROLS.
LOOK AT THE CHANNEL LABELS, LOOK AT THE TOP STRIP, AND CONFIRM WHETHER A SESSION IS ACTIVE.

[3] FULL VIDEO ROUTER
HERE WE ARE LOOKING AT THE FULL VIDEO ROUTING MATRIX.
THIS IS A POWERFUL SCREEN, SO THE MOST IMPORTANT CONCEPT IS STAGING.
CLICKING IN THE ROUTER MATRIX DOES NOT IMMEDIATELY TAKE THE ROUTE ON AIR.
IT STAGES A CHANGE.
A STAGED CHANGE BECOMES LIVE ONLY WHEN YOU PRESS TAKE.
THAT TWO-STEP MODEL IS THERE TO PREVENT ACCIDENTAL ROUTING CHANGES.

// ADVANCE TO SLIDE 06: ROUTER OVERVIEW.

THE TOP OF THE ROUTER SHOWS THE SYSTEM NAME, THE NUMBER OF AVAILABLE SOURCES AND DESTINATIONS, AND THE ON AIR STATUS WHEN THERE ARE NO PENDING CHANGES.
ACROSS THE TOP ARE SOURCE GROUPS SUCH AS SDI, MULTIVIEWER, PROGRAM, TEST PATTERNS, PROMPTER, ZOOM, AND NDI.
DOWN THE LEFT SIDE ARE DESTINATION GROUPS SUCH AS SDI, SWITCHER, VTR, MULTIVIEWER, ZOOM, AND NDI.
YOU CAN READ THE MATRIX AS SOURCE ACROSS THE TOP, DESTINATION DOWN THE SIDE.
THE POINT WHERE A SOURCE COLUMN AND DESTINATION ROW MEET IS THE POSSIBLE ROUTE.

// POINT TO A BLUE ROUTED CELL.

A BLUE ROUTED CELL SHOWS THE CURRENT LIVE ROUTE.
THAT MEANS THE DESTINATION ON THAT ROW IS CURRENTLY RECEIVING THE SOURCE AT THAT COLUMN.
IF YOU ARE TROUBLESHOOTING A DISPLAY, RECORDER, SWITCHER INPUT, OR FEED, START BY FINDING THE DESTINATION AND READING ACROSS TO THE BLUE CELL.

// ADVANCE TO SLIDE 07: ROUTER STAGING.

// STAGE ONE HARMLESS ROUTE.

A YELLOW OR HIGHLIGHTED STAGED CELL SHOWS A ROUTE THAT IS PREPARED BUT NOT YET COMMITTED.
WHEN A ROUTE IS STAGED, PODCART OPENS THE STAGED CHANGES DRAWER.
THE DRAWER SHOWS THE DESTINATION, WHAT IT IS CURRENTLY ROUTED FROM, AND WHAT IT WILL BE ROUTED TO.
THIS IS YOUR CHANCE TO CHECK THE CHANGE BEFORE IT AFFECTS THE ROOM.

// POINT TO REVERT.

REVERT CLEARS THE STAGED CHANGE.
USE IT WHENEVER THE STAGED CHANGE IS WRONG OR YOU ARE NOT COMPLETELY SURE.

// POINT TO TAKE, BUT DO NOT PRESS IT UNLESS SAFE.

TAKE COMMITS IT.
TAKE IS THE MOMENT OF COMMITMENT.
ONE TAKE CAN COMMIT EVERY STAGED CHANGE, NOT JUST THE LAST CELL YOU CLICKED.
BEFORE PRESSING TAKE, GLANCE AT THE STAGED DRAWER AND CONFIRM THE WHOLE LIST.
THE MAIN PHRASE TO REMEMBER IS THIS: CLICK STAGES, TAKE COMMITS.
IF YOU ARE UNSURE, DO NOT PRESS TAKE.

[4] SARH EASY ROUTING
THIS VIDEO COVERS SARH EASY ROUTING, WHICH IS THE SAFER OPERATOR-FACING ROUTING PAGE FOR COMMON ROOM SETUPS.
IT EXISTS SO OPERATORS DO NOT NEED TO USE THE FULL MATRIX FOR ROUTINE CAMERA AND DISPLAY ROUTING.
THE FULL MATRIX IS FLEXIBLE, BUT THIS PAGE SPEAKS IN THE LANGUAGE OF THE ROOM: CAMERA UNITS, MONITOR OUTPUTS, AND PRESETS.

// ADVANCE TO SLIDE 08: EASY ROUTING SETUP.

THE SETUP TAB LETS YOU CHOOSE A WIRING PRESET AND ASSIGN PHYSICAL CAMERA INPUT JACKS AND DISPLAY OUTPUT JACKS.
THIS IS WHERE YOU DESCRIBE WHAT IS PLUGGED IN AND WHERE THE ROOM OUTPUTS SHOULD GO.

// POINT TO PRESET A, PRESET B, AND CUSTOM.

PRESET A AND PRESET B LOAD KNOWN CONFIGURATIONS FROM THE ROOM CONFIG.
CUSTOM MEANS THE CURRENT ASSIGNMENTS DO NOT EXACTLY MATCH ONE OF THOSE PRESETS.
THAT IS NOT ALWAYS BAD.
IT MAY SIMPLY MEAN THE ROOM HAS BEEN ADJUSTED FOR A SPECIFIC SHOW.
BUT IT IS A SIGNAL TO PAY ATTENTION BEFORE ASSERTING ROUTES.

// POINT TO CAMERA INPUT JACKS.

THE CAMERA INPUT SECTION MAPS UNIT A THROUGH UNIT E TO SDI INPUTS.
EACH UNIT HAS AN INTENDED DESTINATION ON THE SWITCHER AND A MATCHING VTR DESTINATION.
THIS PAGE USES THOSE ASSIGNMENTS TO TAKE THE RIGHT ROUTES WITHOUT MAKING THE OPERATOR MANUALLY FIND EVERY DESTINATION IN THE FULL MATRIX.

// POINT TO DISPLAY OUTPUT JACKS.

THE DISPLAY OUTPUT SECTION MAPS DIRECTOR TV, CONFIDENCE MONITOR, AND TALENT MONITOR TO SDI OUTPUTS.
CHANGING DISPLAY OUTPUTS CAN RESET THOSE DISPLAYS TO THEIR DEFAULT SOURCES, SUCH AS PGM FOR DIRECTOR AND CONFIDENCE OR ZOOM FOR TALENT.
THAT RESET BEHAVIOR IS USEFUL, BUT IT IS ALSO WHY DISPLAY-OUTPUT CHANGES SHOULD BE DELIBERATE.

// ADVANCE TO SLIDE 09: EASY ROUTING OPERATE.

// SWITCH TO THE OPERATE TAB.

THE OPERATE TAB IS WHERE YOU CHECK WHETHER THE ROUTER MATCHES THE DESIRED SETUP.
OK MEANS THE CURRENT ROUTER STATE MATCHES WHAT THE EASY ROUTER EXPECTS.
DIFFERENT MEANS THE ROUTER IS CURRENTLY SHOWING A CONCRETE SOURCE, BUT NOT THE DESIRED ONE.
UNKNOWN OR BLANK STATES MEAN THE PLUGIN DOES NOT YET HAVE ENOUGH ROUTER FEEDBACK TO CONFIRM THE CURRENT SOURCE.

// POINT TO AN ASSERT BUTTON.

ASSERT TAKES THAT SPECIFIC ROUTE AGAIN.
ASSERT ALL TAKES ALL MISMATCHED DESIRED ROUTES AGAIN.
REFRESH ASKS THE ROUTER FOR CURRENT STATE AGAIN.
IN THIS EXAMPLE, THE PAGE SHOWS CHECK 4, WHICH MEANS FOUR ROUTES ARE DIFFERENT FROM THE DESIRED EASY-ROUTING STATE.
THE WORKING RULE IS: USE SETUP TO DEFINE THE INTENDED WIRING, USE OPERATE TO VERIFY IT, AND USE ASSERT ONLY WHEN YOU ARE READY TO PUSH THE INTENDED ROUTE BACK ONTO THE ROUTER.
IF YOU ARE NOT SURE WHY A ROUTE IS DIFFERENT, STOP AND ASK BEFORE ASSERTING ALL.

[5] CAMERA QUICK CONTROL
THIS IS THE NORMAL CAMERA CONTROL PAGE.
USE THIS PAGE WHEN YOU NEED TO CHECK CAMERA STATUS, OPEN A CAMERA, OR MAKE BASIC PTZ AND LENS ADJUSTMENTS.
THE PURPOSE OF THIS VIEW IS FAST CONFIRMATION AND SIMPLE OPERATION, NOT DEEP CAMERA ENGINEERING.

// ADVANCE TO SLIDE 10: CAMERA CARDS.

THE TOP SECTION SHOWS CAMERA CARDS FOR UNIT A THROUGH UNIT E.
EACH CARD INCLUDES A LIVE PREVIEW, A LIVE OR OFFLINE STATE, THE CAMERA LABEL, THE MODEL, AND THE CURRENT CUSTOM PICTURE OR GAMMA STATE.
IN THIS EXAMPLE, THE CAMERAS ARE LIVE XF605 UNITS USING C11 AND HLG BT2020.
THAT INFORMATION HELPS CONFIRM BOTH CONNECTION AND MODE BEFORE ANYONE STARTS RECORDING.

// ADVANCE TO SLIDE 11: CAMERA DETAIL.

// CLICK UNIT A.

TAPPING A CAMERA CARD OPENS THE UNIT DETAIL VIEW.
THE DETAIL VIEW SHOWS A LARGER CAMERA FEED, A MOVEMENT AND LENS CONTROL AREA, PTZ DIRECTION CONTROLS, ZOOM CONTROLS, FOCUS CONTROLS, AF, 1-PUSH, AND PRESET RECALL SLOTS.
ALWAYS CONFIRM THE UNIT LABEL AFTER OPENING THE DETAIL VIEW.
IT IS EASY TO THINK YOU ARE ADJUSTING ONE CAMERA WHEN THE SELECTED CARD IS ACTUALLY ANOTHER.

// POINT TO THE PTZ PAD.

USE THE DIRECTION PAD FOR FRAMING.
MOVE IN SMALL STEPS.
IF THE FEED IS MARKED SLOW, GIVE THE PICTURE A MOMENT TO UPDATE BEFORE MAKING THE NEXT ADJUSTMENT.

// POINT TO ZOOM AND FOCUS.

USE ZOOM AND FOCUS IN SMALL ADJUSTMENTS.
AF AND 1-PUSH CAN HELP RECOVER FOCUS, BUT THEY ARE STILL CAMERA ACTIONS, SO DO NOT PRESS THEM REPEATEDLY WITHOUT WATCHING THE RESULT.
SOME PRESET CONTROLS MAY BE UNAVAILABLE OR MARKED PTZ ONLY DEPENDING ON THE CAMERA TYPE AND CONFIGURATION.
THAT IS NOT NECESSARILY AN ERROR.
IT MEANS THE CURRENT CAMERA SURFACE IS ALLOWING ONLY THE FUNCTIONS THAT ARE SAFE OR SUPPORTED FOR THAT UNIT.
THE WORKFLOW IS: FIND THE CAMERA CARD, OPEN IT, CONFIRM YOU ARE ON THE CORRECT UNIT, MAKE SMALL PTZ OR LENS ADJUSTMENTS, AND GO BACK TO THE CAMERA GRID.

[6] ADVANCED CAMERA AND SHADING VIEW
THIS VIDEO IS FOR TECHNICAL OPERATORS.
THE ADVANCED CAMERA CONTROL FULLSCREEN VIEW EXPOSES CAMERA ENGINEERING CONTROLS ACROSS ALL CONFIGURED UNITS, SO THE BOUNDARIES MATTER.
IF THE QUICK CAMERA VIEW IS FOR FRAMING AND CHECKING, THIS VIEW IS FOR SHADING, MATCHING, AND RECOVERING CAMERA STATE.

// ADVANCE TO SLIDE 12: ADVANCED CAMERA CONTROLS.

// PRESS ADVANCE CAMERA CONTROL.

THE LEFT SIDE SHOWS A RACK OF CAMERA COLUMNS.
EACH COLUMN REPRESENTS ONE CAMERA UNIT AND INCLUDES CONTROLS FOR PROFILE, SHUTTER, ISO OR GAIN, WHITE BALANCE, PAINT, MASTER BLACK, IRIS, AND AE.
THESE ARE NOT COSMETIC UI CONTROLS.
THEY AFFECT HOW THE CAMERA IMAGE IS EXPOSED, COLORED, AND MATCHED TO THE OTHER CAMERAS.

// POINT TO THE SELECTED UNIT.

THE ACTIVE OR SELECTED UNIT IS HIGHLIGHTED.
USE THAT HIGHLIGHT AS A SAFETY CHECK BEFORE CHANGING ANYTHING.
IF THE WRONG UNIT IS SELECTED, CHOOSE THE CORRECT CAMERA FIRST.

// POINT ACROSS THE CAMERA COLUMNS SLOWLY.

THESE CONTROLS WRITE DIRECTLY TO CAMERA STATE.
THAT MEANS CHANGES CAN AFFECT THE REAL CAMERAS IMMEDIATELY.
MAKE ONE CHANGE AT A TIME.
THEN LOOK AT THE IMAGE BEFORE MAKING ANOTHER CHANGE.
THAT MAKES IT POSSIBLE TO UNDERSTAND WHAT ACTUALLY CAUSED THE RESULT.

// POINT TO THE UNIT OPERATION DRAWER.

THE RIGHT SIDE CONTAINS THE UNIT OPERATION DRAWER.
IT GIVES A LARGER FEED AND DIRECT CONTROLS FOR MOVEMENT, ZOOM, FOCUS, PRESET RECALL, AND RESET BASELINE OPERATIONS.
THIS DRAWER IS USEFUL WHEN YOU NEED TO OPERATE ONE SELECTED CAMERA WHILE STILL SEEING THE REST OF THE RACK.

// PAUSE ON RESET C10 AND RESET C11 IF VISIBLE.

RESET BASELINE IS ESPECIALLY SENSITIVE.
RESET C10 OR RESET C11 OVERWRITES THE CAMERA'S STORED PROFILE SLOT WITH THE CONFIGURED ZERO BASELINE.
THAT IS A RECOVERY TOOL, NOT A CASUAL SETUP BUTTON.
FULLSCREEN CAMERA CONTROL IS POWERFUL AND FAST, BUT IT IS NOT THE FIRST PLACE A REGULAR OPERATOR SHOULD GO.
USE IT WHEN YOU ARE INTENTIONALLY SHADING OR RECOVERING CAMERA SETTINGS, AND MAKE CHANGES ONE AT A TIME SO THE RESULT IS EASY TO EVALUATE.

[7] RECORDING MODE RECALL
THIS IS SARH RECORDING MODE RECALL.
THIS CONTROL SITS ON THE CAMERA CONTROL PAGE, BUT IT AFFECTS MORE THAN JUST THE VISIBLE CAMERA CARDS.
IT IS AN ALL-ROOM MODE SELECTION FOR THE CONFIGURED CANON CAMERAS AND RECORDER CODEC WORKFLOW.
THE PURPOSE IS TO PUT THE CAMERAS AND RECORDER INTO A KNOWN MATCHING MODE BEFORE THE SESSION DEPENDS ON IT.

// ADVANCE TO SLIDE 13: RECORDING MODE RECALL.

// SCROLL TO THE SARH RECORDING MODE CARD.

LONG PLAY IS THE ARCHIVE OR LONG-DURATION MODE.
IT RECALLS CAMERA CUSTOM PICTURE C10, USES REC709 SDI, AND TARGETS H.265 HIGH ON THE RECORDER SIDE.
USE THIS WHEN THE PRIORITY IS RELIABLE LONG RECORDING AND MANAGEABLE FILE SIZE.

// POINT TO LONG PLAY.

HIGH QUALITY IS THE FEATURED OR SHORT-FORM MODE.
IT RECALLS CAMERA CUSTOM PICTURE C11, USES HLG 2020, AND TARGETS PRORES HQ ON THE RECORDER SIDE.
USE THIS WHEN THE PRIORITY IS HIGHER IMAGE QUALITY AND THE SESSION LENGTH AND STORAGE PLAN SUPPORT LARGER FILES.

// POINT TO HIGH QUALITY.

OPERATORS SHOULD CHOOSE THE MODE BEFORE THE SESSION DEPENDS ON IT, NOT IN THE MIDDLE OF A TAKE UNLESS A PRODUCER OR ENGINEER HAS EXPLICITLY ASKED FOR IT.
THE CAMERA COLOR SPACE IN THIS WORKFLOW IS TIED TO THE CAMERA'S STORED CUSTOM PICTURE SLOT.
THE RECALL BUTTON SELECTS THE SLOT AND LETS THE CAMERA APPLY THAT PROFILE.
IT MAY ALSO TRIGGER RECORDER CODEC CHANGES THROUGH THE SARH PRESET RECALL PLUGIN.
AFTER RECALL, GIVE THE CAMERAS AND RECORDER A MOMENT TO SETTLE, THEN CONFIRM THE DISPLAYED ACTIVE STATE.

// POINT TO THE RECALL BUTTONS, BUT DO NOT PRESS UNLESS SAFE.

THE SHORT VERSION IS: LONG PLAY IS SMALLER AND SAFER FOR LONG RECORDINGS.
HIGH QUALITY IS LARGER AND BETTER FOR SHORT HIGH-QUALITY CAPTURES.
CONFIRM THE INTENDED MODE BEFORE PRESSING A RECALL BUTTON.

[8] LIGHTING AND POWER
THIS VIDEO COVERS THE LIGHTING PAGE.
START WITH LYNTEC BECAUSE IT CONTROLS PHYSICAL POWER CIRCUITS.
THAT IS DIFFERENT FROM SELECTING A LIGHTING LOOK.
IF A CIRCUIT IS OFF, THE LIGHTING CONSOLE MAY BE DOING THE RIGHT THING AND THE FIXTURE STILL WILL NOT RESPOND.

// ADVANCE TO SLIDE 14: LIGHTING OVERVIEW.

THE LYNTEC RCPR SECTION SHOWS WHETHER THE PANEL IS CONNECTED, HOW MANY CIRCUITS ARE ON, SEQUENCE ON, SEQUENCE OFF, AND INDIVIDUAL CIRCUIT STATES SUCH AS LIGHTING PIPE 1 THROUGH LIGHTING PIPE 7 AND HOUSE LIGHTS.
THE CONNECTED BADGE TELLS YOU WHETHER PODCART IS SEEING THE POWER CONTROLLER.
THE ON-COUNT GIVES A QUICK SUMMARY OF HOW MUCH OF THE CONFIGURED LIGHTING POWER IS CURRENTLY ENERGIZED.

// POINT TO SEQUENCE ON.

SEQUENCE ON TURNS THE CONFIGURED CIRCUIT SEQUENCE ON.
USE IT WHEN THE ROOM NEEDS TO BRING THE LIGHTING CIRCUITS UP TOGETHER.

// POINT TO SEQUENCE OFF.

SEQUENCE OFF AFFECTS MULTIPLE CIRCUITS AND SHOULD NOT BE PRESSED UNLESS IT IS SAFE TO TURN THOSE CIRCUITS OFF.
THAT MAY AFFECT PEOPLE IN THE ROOM, LIGHTS OVERHEAD, AND ANY EQUIPMENT ON THOSE CIRCUITS.

// MOVE TO THE LIGHTING SECTION.

BELOW LYNTEC IS THE LIGHTING BOARD UI.
THIS TALKS THROUGH THE SARH LIGHTING DRIVER INTO THE MA3 LIGHTING BACKEND.
THE EMBEDDED LIGHTING CONTROLS INCLUDE AUDIENCE, WORK LIGHTS, AND SPACE MODE.

// ADVANCE TO SLIDE 15: LIGHTING FULLSCREEN.

// OPEN ADVANCED CONTROLS.

AUDIENCE CAN BE SET TO LEVELS LIKE HIGH, MED, LOW, OR OFF.
WORK LIGHTS CAN BE OFF, SETUP, OR PRODUCTION.
SPACE MODE CHOOSES THE ACTIVE ROOM LIGHTING CONFIGURATION, SUCH AS OFF, REHEARSAL, MAIN STAGE, CORNER, OR KITCHEN.
THESE ARE SHOW-ENVIRONMENT CONTROLS, SO THEY MAY BE VISIBLE TO PEOPLE IN THE ROOM IMMEDIATELY.
THE OPERATOR RULE IS: POWER FIRST, LOOKS SECOND.
MAKE SURE THE ROOM CIRCUITS ARE ON BEFORE TROUBLESHOOTING THE MA3 LOOK.
WHEN CHANGING LIGHTING LOOKS, ANNOUNCE THE CHANGE IF PEOPLE ARE IN THE ROOM, AND AVOID SWEEPING THROUGH MODES DURING A LIVE RECORDING.

[9] VIDEO CONTROL AND ATEM
THIS IS VIDEO CONTROL.
IT CONTAINS SEVERAL LIVE SYSTEMS, SO TREAT IT AS A BROADCAST CONTROL SURFACE.
SOME BUTTONS CONTROL DISPLAYS.
SOME BUTTONS CONTROL THE ATEM PROGRAM OUTPUT.
OPERATORS NEED TO KNOW WHICH IS WHICH BEFORE PRESSING ANYTHING.

// ADVANCE TO SLIDE 16: VIDEO CONTROL.

AT THE TOP ARE THE DIRECTOR DISPLAY AND TALENT DISPLAY CARDS.
EACH HAS TV ON AND TV OFF BUTTONS, PLUS A TRANSPORT BADGE SUCH AS WEBOS OR TCP AND AN IDLE STATUS.
TV ON MAY USE WAKE-ON-LAN.
TV OFF IS A REAL POWER COMMAND AND MAY ASK FOR CONFIRMATION DEPENDING ON THE BUTTON CONFIGURATION.
USE THESE WHEN THE PHYSICAL DISPLAY STATE NEEDS TO CHANGE, NOT WHEN YOU ARE ONLY TRYING TO CHANGE WHAT VIDEO SOURCE THE DISPLAY RECEIVES.

// POINT TO THE ATEM PROGRAM CARD.

BELOW THE DISPLAY CARDS IS THE ATEM SWITCHER.
IN THE REGULAR PROGRAM CARD, OPERATORS CHOOSE CUT OR AUTO AND THEN CHOOSE A CAMERA SOURCE.
CUT SWITCHES IMMEDIATELY.
AUTO LOADS THE SOURCE INTO PREVIEW AND RUNS THE ATEM'S CONFIGURED TRANSITION.
THE CAMERA BUTTONS ARE LIVE SOURCE CHOICES FOR THE SWITCHER, SO THEY SHOULD BE TREATED LIKE A BROADCAST PANEL.

// ADVANCE TO SLIDE 17: ATEM FULLSCREEN.

// OPEN BROADCAST CONTROL.

BROADCAST CONTROL FULLSCREEN GIVES A MORE TRADITIONAL SWITCHER LAYOUT WITH A PROGRAM BUS, PREVIEW BUS, AND LARGE CUT AND AUTO BUTTONS.
PROGRAM BUS BUTTONS HOT-PUNCH DIRECTLY TO PROGRAM.
PREVIEW BUS BUTTONS PREPARE THE NEXT SOURCE.
CUT OR AUTO TAKES THE CURRENT PREVIEW SOURCE TO PROGRAM.
THE TOP INDICATORS SHOW THE CURRENT PROGRAM SOURCE, THE CURRENT PREVIEW SOURCE, AND WHETHER THE SWITCHER IS ONLINE.

// POINT TO CUT AND AUTO, BUT DO NOT PRESS UNLESS SAFE.

THE KEY SAFETY POINT IS THAT ATEM CONTROLS ARE LIVE.
DO NOT PRESS PROGRAM BUTTONS, CUT, OR AUTO UNLESS YOU INTEND TO CHANGE THE LIVE VIDEO OUTPUT.
IF YOU ONLY NEED ROUTING, USE THE ROUTER OR SARH EASY ROUTING PAGES INSTEAD OF THE ATEM PROGRAM BUS.

[10] AUTO CAMERA SWITCHING
THESE ARE THE AUTOMATIC CAMERA SWITCHING CONTROLS THAT LIVE UNDER VIDEO CONTROL.
THE PURPOSE OF AUTOSWITCHING IS TO SWITCH TO THE CAMERA COVERING WHOEVER IS SPEAKING.
THIS CAN MAKE PANEL-STYLE RECORDINGS EASIER, BUT IT ONLY WORKS WELL WHEN THE MIC-TO-CAMERA MAPPING MATCHES THE REAL ROOM LAYOUT.

// ADVANCE TO SLIDE 18: AUTO CAMERA SWITCHING.

// SCROLL TO MIC TO CAMERA ROUTING.

EACH MIC IS MAPPED TO A CAMERA.
IN THE CURRENT CONFIG, MIC 1 MAPS TO CAM 1, MIC 2 MAPS TO CAM 2, MIC 3 MAPS TO CAM 3, MIC 4 MAPS TO CAM 4, AND MIC 5 MAPS TO CAM 5.
MULTIPLE MICS CAN SHARE THE SAME CAMERA IF THE PHYSICAL SETUP REQUIRES IT.
NONE MEANS THAT MIC WILL NOT DRIVE AN AUTOMATIC CAMERA CHOICE.

// POINT TO THE ENABLE SWITCH.

THE ENABLE SWITCH TURNS AUTOMATIC SWITCHING ON OR OFF.
LEAVE IT OFF WHEN YOU WANT MANUAL SWITCHING OR WHEN THE MAPPINGS HAVE NOT BEEN CHECKED.

// POINT TO SENSITIVITY.

SENSITIVITY CONTROLS HOW QUICKLY THE SYSTEM REACTS.
HIGHER SENSITIVITY SWITCHES SOONER TO WHOEVER IS LOUDEST.
LOWER SENSITIVITY WAITS LONGER AND AVOIDS RAPID SWITCHING.
IF THE CAMERA CHANGES TOO OFTEN, LOWER THE SENSITIVITY.
IF IT MISSES CLEAR SPEAKERS, RAISE IT CAREFULLY.

// POINT TO USE DEFAULT SHOT.

USE DEFAULT SHOT DETERMINES WHAT HAPPENS WHEN NO SINGLE MIC IS CLEARLY THE LOUDEST, SUCH AS DURING SILENCE OR WHEN SEVERAL PEOPLE TALK AT ONCE.
DEFAULT CAMERA CHOOSES THAT FALLBACK SHOT.
IN THIS EXAMPLE, THE DEFAULT CAMERA IS CAM 5.
THIS IS USEFUL FOR PANEL-STYLE RECORDINGS, BUT IT DEPENDS ON CORRECT MIC ROUTING, CORRECT CAMERA FRAMING, AND A REASONABLE DEFAULT SHOT.
BEFORE ENABLING IT, CONFIRM THAT EVERY MIC MAPS TO THE CAMERA YOU EXPECT.

[11] AUDIO SOURCE ROUTING
THIS IS A SHORT UTILITY VIDEO ABOUT THE X32 INPUT SOURCE CONTROL.
IT IS NOT A NORMAL MIXING CONTROL.
IT IS A SETUP AND TROUBLESHOOTING CONTROL FOR WHERE THE X32 RECEIVES A GROUP OF INPUTS.

// ADVANCE TO SLIDE 19: AUDIO SOURCE ROUTING.

// OPEN THE AUDIO CONTROLS PAGE.

THE AUDIO CONTROLS PAGE CURRENTLY SHOWS X32 INPUT SOURCE WITH ONE DROPDOWN: USER IN 1-4 SOURCE.
THE AVAILABLE CHOICES ARE LOCAL IN 1-4 AND CARD 1-4.

// OPEN OR POINT TO THE DROPDOWN.

THIS CONTROLS WHERE THE X32 USER INPUT BANK IS SOURCING AUDIO FROM.
IN A NORMAL STUDIO SETUP, THIS IS NOT SOMETHING EVERY OPERATOR SHOULD CHANGE CASUALLY.
IT IS A TROUBLESHOOTING OR SETUP CONTROL.
LOCAL IN 1-4 MEANS THE USER INPUTS ARE SOURCED FROM LOCAL PHYSICAL INPUTS.
CARD 1-4 MEANS THEY ARE SOURCED FROM CARD CHANNELS.
IF THE WRONG SOURCE IS SELECTED, AUDIO MAY APPEAR TO BE MISSING EVEN THOUGH THE MIXER, RECORDER, OR MICROPHONES ARE OTHERWISE WORKING CORRECTLY.
THAT CAN LOOK LIKE A MICROPHONE PROBLEM WHEN IT IS REALLY AN INPUT-SOURCE PROBLEM.
THE RULE IS: KNOW WHAT THE SHOW REQUIRES BEFORE CHANGING THIS.
IF AUDIO DISAPPEARS AFTER CHANGING IT, PUT IT BACK TO THE EXPECTED SOURCE AND CHECK WITH THE AUDIO LEAD.

[12] STATUS AND TROUBLESHOOTING
THIS IS THE STATUS PAGE.
THE STATUS PAGE IS WHERE OPERATORS CAN QUICKLY REPORT WHAT PODCART THINKS IS HAPPENING.
IT IS NOT JUST A DEVELOPER PAGE.
IT IS THE FASTEST WAY TO GATHER USEFUL FACTS BEFORE ASKING FOR HELP.

// ADVANCE TO SLIDE 20: STATUS PAGE.

// OPEN STATUS.

THE SYSTEM PANEL SHOWS THE ROOM STATE, ACTIVE SESSION, OPEN TIME, AND STORAGE STATUS.
THE SESSIONS PANEL SHOWS RECORDER SESSIONS FOR THE CURRENT VISIT.
THE EVENTS PANEL SHOWS SYSTEM EVENTS, SUCH AS ROOM OPENED OR WARNINGS AND ERRORS.

// POINT TO THE SYSTEM PANEL.

IN THIS EXAMPLE, THE ROOM STATE IS OPEN, THERE IS NO ACTIVE SESSION, THE ROOM OPENED AT A SPECIFIC TIME, AND THE EVENTS PANEL SHOWS ROOM OPENED.
THAT TELLS US THE CONTROL SIDE OF THE ROOM WAS ALIVE, EVEN THOUGH NO ACTIVE RECORDING SESSION EXISTED.

// POINT TO STORAGE.

THE STORAGE AREA SHOWS ERROREVENT IS NOT DEFINED BECAUSE RECORDER-API WAS NOT RUNNING ON PORT 8081 DURING THIS CAPTURE.
THAT IS EXACTLY THE KIND OF THING THIS PAGE IS USEFUL FOR.
IT GIVES A CLEAR PLACE TO SEE WHETHER THE RECORDER SIDE OF THE SYSTEM IS HEALTHY.

// POINT TO EVENTS.

WHEN RECORDER-API IS RUNNING NORMALLY, THIS PAGE SHOULD SHOW HEALTHY STORAGE AND SESSION INFORMATION.
USE THIS PAGE WHEN YOU CALL FOR HELP.
INSTEAD OF SAYING THE SYSTEM IS BROKEN, THEY CAN SAY THE ROOM IS OPEN, THERE IS NO ACTIVE SESSION, STORAGE HAS AN ERROR, OR THE RECORDER SESSIONS LIST IS EMPTY.
SPECIFIC OBSERVATIONS MAKE TROUBLESHOOTING MUCH FASTER.