9. Layer Types

Learn everything you need to know about the different layer types in d3, in alphabetical order.

9.1 Overview of layer types

For a broader overview of layers please read the sub-chapter Overview of layers in the previous chapter.

Types of layers

There are five main layer types in d3: content layers, generative layers, pre-visualisation layers, effects layers and control layers.

Table categorising d3’s layers into five types: content, generative, pre-visualisation, effects and control layers

Content layers

The function of content layers is to play back pre-rendered content, map them onto screens and, if needed, apply a number of effects built into the layer.

Generative layers

Generative layers are packets of algorithms inside d3 that produce visuals based on a number of animatable properties. They share some of the same properties as all the other layer types such as the Mapping property.

Pre-visualisation layers

Pre-visualisation layers are usually used during the design and pre-production phases of the project when accurate visualisation is required, for example animating screens using the ScreenPosition layer, or creating camera fly-throughs with the AnimateCamera layer or AnimateCamera2 layer.

Effects layers

Input a bitmap, a video or an output from another content layer into d3’s effects layers. For example spin, pixelate, blur images, video, or other inputs to create a new look.

Control layers

Control layers are technical layers that control other equipment in the show; for example DVI matrices, switchers or unusual DMX controlled equipment.

Control layers such as the Open layer are used to turn otherwise static properties into animatable ones. For example, the static Rotation property of a Parallel mapping can be animated by linking an Open layer to its Rotation property. For more information on how to use the Open layer to animate layer properties please see the Open layer sub-chapter.

For a more detailed overview of all existing layers, read the layer’s corresponding sub-chapter below.

Creating/structuring/editing layers

It is highly recommended that the previous chapter Working with layers is read before reading this chapter. This is because creating/structuring/editing layers involves many processes, for example placing key-frames on the Key-frame editor, which are all explained in the previous chapter.

9.2 AnimateCamera

This layer allows you to script a fly-through of the stage so that you can create presentation videos, with or without audio.

Please note: Animate Camera layer gives you full control of keyframes but is also more complex and harder to operate than the Animate Camera 2 layer, which is based on animating between a number of pre-made configurations.

Animate Camera layer and editor

Animate Camera layer properties (in addition to Common layer properties)

Camera pivot

This controls the position of the pivot ‐ the point where the camera is looking at. This is a 3‐dimensional position, i.e. it has x, y and z components. These are all stage‐space coordinates, expressed in meters.

Please note: in most cases the best approach is to have a static pivot point throughout the camera fly-through animation. Set the pivot point to the point of rotation, then animate the other properties. If not, you may get a “sliding” effect of the camera.

Camera rotation

This controls the rotation of the camera around the pivot point, in degrees around each of the x, y and z axes. Rotation around the x axis is equivalent to ‘elevation’, around the y axis is equivalent to ‘heading’, and the z axis rotates the camera around its viewing axis.

Distance from pivot

This controls the distance (in meters) from the camera to its pivot point. Increasing this number takes the camera away from the pivot point; decreasing it moves the camera closer to the pivot point.

View angle

A higher view angle will show more of the stage from a given point of view. View angle is measured in degrees.

Camera locked

This manipulates how the layer controls the camera.

Left-click camera locked to open the camera locked keyframe editor.
Left-click always to open the option properties.

Camera Locked property used to manipulate how the Animate Camera layer controls the camera

Left-click when playing to set the layer so that it only controls the camera when the keyframe editor is playing, allowing you to move freely when the keyframe editor stops.
Left-click always to set the layer so that it always control the camera.

Please note: while the Timeline play cursor is under the layer’s extent, the Animate Camera layer overrides normal Stage navigation. To regain control of the normal Stage navigation, move the play cursor away from under the layer (or move the layer).

9.3 AnimateCamera2

The Animate Camera 2 layer lets you create camera fly throughs using a number of configurations which can be dropped onto the timeline. d3 will then animate the camera between the configurations.

Animate Camera 2 layer and editor

Animate Camera 2 layer properties (in addition to Common layer properties)

Position

This property lets you create a new configuration of cameras you want to animate. Please see the section below ‘Creating a camera position animation’ for step-by-step instructions on how to do this.

Camera locked

Explained in Animate Camera.

Creating a camera position animation

Left-click position. This will open the position keyframe editor and a window where you can create a new camera position.
Left-click new cameraposition to highlight the text field.
Type in the name of your new camera, for example east.
Hit Enter. This will create the new camera position, add it to the position key-frame editor at the position of the currently selected Track bar, and open the Camera Position editor. The camera position key-frames can also be click-dragged from the Camerapositions manager to a specified point on the Position key-frame editor.

Process used to create a camera position, in this example East, and place it on the Position key-frame editor

Edit the values within the Camera Position editor (properties explained below).
Repeat the steps listed above to create as many new camera positions as required.
Hit Shift and < to jump to the first bar of the track.
Hit Enter to trigger normal play mode and watch the camera animation.

Camera position properties

As demonstrated above, you need to use the Camera Position editor as part of the process to animate a camera position.

To open the Camera Position editor:

Right-click a camera position in the Camerapositions manager

Camera Position editor, opened by right-clicking a camera position from the Camerapositions manager

Pivot

This controls the position of the pivot ‐ the point where the camera is looking at. This is a 3‐dimensional position, i.e. it has components x, y and z; all are stage‐space coordinates, expressed in meters.

Please note: in most cases the best approach is to have a static pivot point throughout the camera fly-through animation. Set the pivot point to the point of rotation, then animate the other properties. If not, you may get a “sliding” effect of the camera.

Elevation

This rotates the camera up and down and is expressed in degrees. Note that the Elevation value is based around the camera’s pivot point.

Heading

This rotates the camera left and right, in degrees. Note that the Heading value is based around the camera’s pivot point.

Roll

This rotates the camera around its own z-axis, in degrees.

Distance to pivot

This moves the camera closer to or further away from its pivot point, in meters.

View angle

A higher view angle will show more of the stage from a given point of view. View angle is measured in degrees.

9.4 Bitmap

Using the Bitmap layer is the easiest way to display still images. The Bitmap layer takes over certain properties from the Colour layer and the Video layer.

Bitmap layer and editor

The Bitmap layer supports the use of Arrows, allowing content layers to be piped into the Bitmap layer. For more information please see the sub-chapter Composing layers using Arrows.

Bitmap layer properties (in addition to Common layer properties)

Transition

Determines the crossfade (in seconds) between two adjancent bitmaps placed in the keyframe editor of the Bitmap layer.

Treshold

The threshold of the keying. Colours closer than (threshold) to the key colour become transparent.

Hardness

The hardness of the keying. Lower numbers produce softer edges and higher numbers produce harder edges between transparent and opaque areas.

Key colour rgb

The value of the key colour, 0 – 255, causing the key colour to become transparent.

Scale mode

Provides mapping options to apply to content of a certain resolution which does not match the resolution of the targeted canvas.

Mapping options used if content doesn’t match the resolution of the target canvas, opened by left-clicking Scale Mode

Scale

This controls the size of the image. When set to 1, the image is displayed at its normal size. Increasing the scale increases the size of the image; to display at double size, set scale to 2. To halve the image size, set scale to 0.5.

Aspect

This controls the aspect ratio of the image. When set to 1, the image is displayed at a 1:1 aspect ratio. Increasing the aspect value increases the height of the image in relation to its width.

Position

This controls the horizontal (x) and vertical (y) position of the image. When both are set to 0, the centre of the image is centered in the output canvas. Setting x to ‐1 moves the center to the left edge of the canvas; setting it to +1 moves the center to the right edge of the canvas. Setting y to ‐1 moves the center to the top edge of the canvas; setting it to +1 moves the center to the bottom edge of the canvas.

Rotation

This controls the rotation of the bitmap, in degrees.

Crop

The crop pulldown tab contains a set of properties (top, left, bottom, right) that allow you to remove pixels from the edges of the bitmap. Each property specifies the number of pixels you want to remove from the corresponding edge. For example, setting top to 10 will clip 10 pixels off the top edge.

9.5 Blur

The Blur layer blurs the content coming from another layer’s output.

Blur layer and editor

The Blur layer supports the use of Arrows, allowing content layers to be piped into the Blur layer. For more information please see the sub-chapter Composing layers using Arrows.

Blur layer properties (in addition to Common layer properties)

Radius

The amplitude of the blur effect. Default value is 6. The min/max values are 0 and 50. Decreasing the value from 6 to 0 will sharpen the content, whilst increasing the value from 6 to 50 will gradually amplify the blurriness of the content.

BlurMask

Applies blur based on a gray-scale still image. White areas will generate maximum blur; black areas will ignore blur.

9.6 Bugs

The Bugs layer is a simple generative layer that simulates a number of ‘bugs’. A ‘bug’ is a block of colour that moves across the canvas, leaving behind a fading trail of blocks. With ach step, the bug may decide to change its direction or continue in the same direction.

Bugs layer and editor

Bugs layer properties (in addition to Common layer properties)

Block size

This controls the size of each bug, in pixels. When the block size is higher than 1, a one‐pixel black border is drawn around each bug’s square. The smaller the size, the finer the pattern generated.

Population

This controls the number of bugs. When set to 255, the maximum number of bugs is drawn.

Speed

This controls how many times per beat the bugs update their position.

Turniness

This controls the ability of each bug to change direction at each step. When set to the minimum value 0, the bugs will move in straight lines and never change direction; when set to the maximum value 255, the bugs will turn at every opportunity.

Field

This controls the number of directions the bugs can choose from. The min/max Field values are 0 and 9. Different Field values control the directions the bugs move in in different ways.

The following Field values cause the bugs to move in the following directions:

0: horizontally right and left + vertically up and down
1: horizontally right and left
2: vertically up and down
3: diagonally up and down
4: diagonally down into horizontal right and left
5: vertically up
6: vertically down
7: horizontally right
8-9: horizontally left

9.7 CameraControl

The CameraContol layer controls Sony Visca Camera’s configuration.

CameraControl layer and editor

CameraControl layer properties

Camera

The camera object to use.

Command

The camera command to send.

Creating/sequencing CameraControl commands

The process used to create/sequence CameraControl commands is done by placing key-frames onto the Command key-frame editor, and is therefore the same as any other layer type that uses key-frame editors, for example the AnimateCamera2 layer. For an example on how to create and animate key-frames using the key-frame editor please follow the step-by-step instructions in the AnimateCamera2 sub-chapter.

There are three types of CameraControl commands:

CameraControl command types

Editing CameraControl commands

Each CameraControl command type opens a specific camera command editor.

CameraControl command editors for the three types of CameraControl commands

CameraConfig editor

Zoom: sets the cameras zoom, 0 – 100%

Focus: sets the cameras focus, 0 – 100%

Exposure mode: sets the exposure mode to auto, manual, iris or shutter.

Shutter: sets the shutter value, 0 – 100%. Only valid in shutter mode.

Iris: sets iris value, 0 – 100%. Only valid in iris mode.

Gain: sets the cameras gain, 0 – 100%.

Pan: sets the cameras pan, in degrees.

Tilt: sets the cameras tilt, in degrees.

CameraOnOff editor

Switch: turns the camera on or off.

CameraRecallPreset editor

Preset: sets the preset number assigned to the Sony Visca Camera. A Sony Visca Camera can have up to four presets.

9.8 Chevron

Sooner or later, everybody needs chevrons. Recognising this fact of life, d3 includes a Chevron layer for all your chevron needs.

Chevron layer and editor

Chevron layer properties (in addition to Common layer properties)

Speed

This controls the speed of the chevrons, in pixels per beat. Positive numbers move the chevrons to the left; negative numbers move the chevrons to the right.

Angle

This controls the angle of the chevron ‘fins’, in degrees. Smaller numbers move the angle closer to horizontal.

Spacing

This controls the spacing between the chevrons, in pixels.

Width

This controls the width, as a percentage of the spacing, of the first colour band.

9.9 Colour

The Colour layer is the easiest layer type; it simply generates a flat colour. Many other layers take over the properties of the Colour layer. For example, the Bitmap layer and the Video layer use colour properties to allow you to tint their output.

Colour layer and editor

Colour layer properties

The Colour layer properties are all explained in Common layer properties.

9.10 Compose

The Compose layer takes multiple inputs, for example live camera input, and composes the inputs next to each other on a screen. The Compose layer can also blur the edges between the inputs enabling seamless edges.

Compose layer and editor

The Compose layer supports the use of Arrows, allowing content layers to be piped into the Compose layer. For more information please see the sub-chapter Composing layers using Arrows.

Compose layer properties (in addition to Common layer properties)

Horizontal shift

Moves the composed content left or right.

Rotation speed

Adjusts the horizontal rotation speed of the content.

Vertical shift

Moves the content up or down.

Blend border

Adjusts the blending level between the input sources.

Source 1,2,3,4

Adjust what inputs to show, hide or partially show. When you set the value to 1, it shows the input, 0 hides the input. As inputs are being hidden, note that d3 maintains the aspect and therefore scales the inputs on the screen.

Using the Compose layer

Create the input layers. These can be any content layer (Bitmap layer, Video layer, Video Transition layer, or a combination). For the example below we are using Bitmap layers.

Content layers, in this example four Bitmap layers, will be used as input into a Compose layer

Edit the content layers’ properties as you wish. The content layers used in this example have had their Colour Shift properties edited. For more information on editing Colour Shift properties scroll down to the section ‘Colour Shift’ in the Common layer properties chapter.
Create a Direct mapping with the same resolution as the source content. For example, if the image in the Bitmap layer is 256×256 pixels, create a Direct mapping type with a 256×256 resolution . As the mapping type only acts as a temporary container which is piped into the Compose layer, there is no need to add a screen.

Temporary mapping type, in this example 256×256 Dummy Mapping, used as a temporary container to be piped into the Compose layer

Create a Compose layer. Make sure this layer is positioned at the top of your layer order.

Compose layer should be positioned at the top of the input layers

Drag an Arrow from each input layer into the Compose layer. For information on Arrows please see the sub-chapter Composing layers using arrows. In the Compose layer’s preview window you can now see the inputs composed next to each other.
Select or create an appropriate mapping type which maps the content (containing the composed layers). For information on mapping types please see the Content Mapping sub-chapter. The content will now be mapped onto the screen(s).

Input layers piped into the Compose layer using Arrows and mapped onto Screen1 using a Direct mapping

Edit the Compose layer properties (explained above) as you wish. It is also possible to blur the edges between the inputs enabling seamless edges, as shown in the first image of this sub-chapter.

9.11 DVIMatrixControl

The DVIMatrixControl layer allows you to animate DVI matrix presets on the Timeline. Currently, d3 has built in matrix devices for the Barco MatrixPro and the Lightware MX DVI-PRO.

DVIMatrixControl layer and editor

DVIMatrixControl layer properties

DVIMatrix

The DVI matrix device you want to control.

Command

The command you want to use.

Creating/sequencing DVIMatrixControl commands

The process used to create/sequence DVI matrix presets is done by placing key-frames onto the Command key-frame editor, and is therefore the same as any other layer type that uses key-frame editors, for example the AnimateCamera2 layer. For an example on how to create and animate key-frames using the key-frame editor please follow the step-by-step instructions in the AnimateCamera2 sub-chapter.

There are three types of DVI matrix presets:

DVIMatrixControl command types

Editing DVIMatrixControl commands

Each DVIMatrixControl command type opens a specific DVIMatrixControl command editor.

DVIMatrixControl command editors for the three types of DVIMatrixControl commands

DVIMatrixCommandAutoTrans: transition with a specified transition time. Only applicable for the Barco Encore.

DVIMatrixCommandCut: transitions with a hard cut. Only applicable for the Barco Encore.

DVIMatrixCommandPreset: changes the preset of the matrix. This will only work if you already configured a DVI matrix.

Please note: DVIMatrixCommandCut and the DVIMatrixCommandAutoTrans commands are currently beta features. Please contact the d3 Support team if you want to use them.

Using the DVIMatrixControl layer

First, create a new matrix device in the Device manager, for example Lightware matrix or BarcoMatrixPro. Make sure the ip-address of the matrix device is in the same network as your master-slave network.
Create a new DVIMatrixControl layer.
Choose the matrix device you just created.
Create a new command. For a DVI matrix preset, choose the DVIMatrixCommandPreset.
Type in the number of the preset.
To animate presets, drag and drop them onto the key-frame editor.

9.12 DmxControl

The DmxControl layer can add DMX commands and animate their values using a key-frame editor.

DmxControl layer and editor

DmxControl layer properties (in addition to Common layer properties)

Dmx Command 1…8

The DMX command to send.

The image above shows that the DmxControl layer has eight dmx command properties. By left-clicking the property a key-frame editor will open. It is important to note that only one DMX command can be added per key-frame editor, so a maximum of eight different DMX commands can be added in one DmxControl layer.

However, multiple DmxControl layers can each contain a set of specific DMX commands. For example, one DmxControl layer can include DMX commands that control the beam effects of a particular fixture, whilst another DmxControl layer can control the strobe options, etc.

Value 1…8

The animated value to substitute into the command.

The image below shows that the gobo DMX command is set to send a value of 128 on channel 8 to the mac2k lighting fixtures. However, by using the Value 1 key-frame editor, as shown in the image above, the value of the gobo DMX command is able to change over time.

Creating DmxControl commands

The process used to create DMX commands is done by placing key-frames onto the Dmx Command key-frame editor, and is therefore the same as any other layer type that uses key-frame editors, for example the AnimateCamera2 layer. For an example on how to create and place key-frames using the key-frame editor please follow the step-by-step instructions in the AnimateCamera2 sub-chapter.

Editing DmxControl commands

Right-click a DMX command from the DmxCommands manager to open the DmxCommands editor.

DmxCommands editor

Lamp or fixture commands require you to send a particular value on a particular channel to, for example, control the focus, iris or gobo. These commands are created using the DmxCommands manager which displays a list of all of your DMX commands, and configured using the DmxCommands editor inside the driver editor of the fixture. Therefore for information on the properties of the DmxCommands editor please scroll down to the section ‘DmxCommand’ in the GenericLampDrivers sub-chapter.

9.13 DmxShare

The DmxShare layer enables you to specify whether you want to:

control all DMX channels from d3
control the colour of the DMX fixture only
control the position and orientation of the DMX fixture only

The advantage of the DmxShare layer is that in some shows you may want to control lights using both a conventional lighting desk and d3. For example, d3 is an extremely useful tool for creating pixel mapping content for the lights using the advanced content mapping system, but also for sequencing lights exactly to the beat by quantising an audio track. d3 is also very good for controlling the movements of groups of lights. However, lighting desks give you more control over the movement of individual lights and are specialised to control lights very quickly. Based on these facts, there is a requirement to share the control of the lights between d3 and a lighting desk.

DmxShare layer and editor

DmxShare layer properties (in addition to Common layer properties)

Output

Controls what properties of a DMX fixture d3 should control and output. Options are all – control all properties of the fixture; colour only – control the colour of the fixture only; and position only – control the position and orientation of the fixture only (applies to moving head fixtures).

Enable blackout

Controls whether the DMX fixture/screen is muted (blacked out) from within d3.

For advice on what hardware to use for merging DMX, please contact the d3 Support team.

9.14 Fade

As d3 does not support smooth transitions between mappings the Fade layer allows control of the brightness of all screens within a mapping. For information on mapping types please see the chapter Content Mapping.

Fade layer and editor

Fade layer properties (in addition to Common layer properties)

Group 0..7

The mapping to use as the group.

Fade 0..7

The brightness of all layers outputting to the mapping. 0 is black, 1 is maximum brightness. The example above shows the Fade layer being used to fade the brightness of two screens.

Master tint and fade are both applied to all screens within all groups.

Please note: The Fade layer will only affect layers underneath it. Master tint and fade are both applied to all layers affected by the layer.

9.15 Gradient

The Gradient layer draws real-time gradients composed of two colours.

Gradient layer and editor

Gradient layer properties (in addition to Common layer properties)

Type

Either linear or radial.

2nd Brightness

This controls the brightness of the second colour in the gradient.

2nd xCol, 2nd yCol

This controls the second colour in the gradient (both colours must be taken from the same palette bitmap).

Position x, y

This controls the position (ranging from ‐1 to +1 on both axes) of the the gradient. In case you are using the linear gradient, this is the midpoint of the line; If you are using the radial gradient, this is the center of the circle.

Length

Length can have a value ranging from 0 to 1 (1 = complete canvas width) and controls the width of either the linear gradient or the radius of the circle.

Angle

This is only meaningful when using linear gradients. It controls the angle of the line, in degrees.

9.16 MTC

The MTC layer allows you to output timecode in a controlled way so that external devices such as lighting desks can be synchronised precisely with events on the timeline.

The MTC layer lets you set a timecode start value, a frames-per-second value and an output device. When the play cursor first enters the extent of the layer, d3 starts a clock at the value specified and then outputs timecode as long as the play cursor remains under the layer extent.

Moving the play cursor away from under the extent of the layer will stop the output clock. When the play cursor re-enters the layer extent, the clock will restart.

MTC layer and editor

MTC layer properties (in addition to Common layer properties)

iDevice

This specifies the index of the MIDI device used to output timecode. In the standard d3 machine, this should always be set to 0. The other option is Microsoft GS Wavetable Synth.

Type

Choose from the following options: 24, 25, or 30 frames per second.

Please note: although d3 supports input timecode at 29.97, it cannot currently generate a 29.97 output timecode. This will be updated in a future release.

Start Hour, Min, Sec, Frame

This specifies the start time of the output clock. Whenever the play cursor enters the layer extent, the output clock is reset to this value.

Play mode

There are two options:

Locked: sets the timecode value to the position of the play cursor on the Timeline.

Freerun: allows the time to ticks upwards regardless of cursor position on the Timeline. For example, if the play mode is set to Play-to-end-of-section, where the Play cursor will only progress until it reaches the end of a section (i.e. just before the next cue point) and d3 enters in a holding state, the time code will still tick upwards.

9.17 Master

The Master layer allows you to control the output (master) brightness of a number of layers without having to individually change their brightness levels. You can also use it to control the output brightness of any Screen or collection of Screens.

Master layer and editor

As you can see below, the output brightness is only visualised in the Output Feeds level.

Output brightness of the Master layer is only visualised in the Output Feeds level

Master layer properties

The Master layer properties are all explained in Common layer properties

WARNING: once the master brightness of a screen is set, it will retain that value until another Master layer resets it. A common mistake is to set the master brightness of a screen to 0, then jump to another part of the timeline without a Master layer and wonder why there is no output on the screen. For this reason, the use of the Master layer is discouraged except in emergencies.

9.18 MidiNote

The MidiNote layer sends a midi note.

MidiNote layer and editor

MidiNote layer properties

Device

The midi port to use.

Channel (1-base)

The channel to send the note.

Note

The note to send, in decimal format.

Velocity

The velocity value of the note.

9.19 MotionBlur

The Motion Blur layer causes moving objects in the source content to leave trails behind them.

Motion Blur layer and editor

The MotionBlur layer supports the use of Arrows, allowing content layers to be piped into the MotionBlur layer. For more information please see the sub-chapter Composing layers using Arrows.

Motion Blur layer properties (in addition to Common layer properties)

Blur amount

The amplitude of the blur effect. Default value is 0.5. The min/max values are 0 and 1. Decreasing the value from 0.5 to 0 will sharpen the content, whilst increasing the value from 0.5 to 1 will gradually amplify the blurriness of the content.

9.20 Open

The Open layer is the Swiss army knife of layers. It allows you to control any property of any object in d3, even if that object was not previously animatable using a Key-frame editor. This ability to use a Key-frame editor for properties which were not previously animatable is the key advantage of the Open layer.

When you first create an Open layer, all you will see is a title bar, with no properties beneath it.

Open layer and editor

To control a property of another object:

Right-click an object to open its object editor, in this example Screen 1.
If you want to open multiple editors click Ctrl on the objects of interest.
Hold down Alt, left-click and drag from the Open layer title bar, you will see a white arrow appear. For more information on Arrows please see the Composing layers with Arrows sub-chapter.
Drag the arrow-head over the property you want to control, in this example scale.

Open layer being used to control the property of another object, in this example the Scale property of Screen1

Release the mouse button and Alt; the Open layer now has a new property named after the property you dragged the arrow to. By left-clicking the property a key-frame editor will open. This can be used to animate the property.

Scale property has now become a property of the Open layer

WARNING: use the Open layer carefully. A common mistake is to have a short Open layer on the Timeline that changes the value of that property and then move the play cursor somewhere else on the Timeline. You might, for example, change the output master brightness to 0, then move the cursor to another location and wonder why there is no output.

9.21 PixelMap

The PixelMap layer applies a pixel map to the content being mapped onto a screen producing a pixelated effect. The PixelMap can be created from an external program, for example Photoshop, allowing you to create and customise your own Pixel maps.

PixelMap layer and editor

The PixelMap layer supports the use of Arrows, allowing content layers to be piped into the PixelMap layer. For more information please see the sub-chapter Composing layers using Arrows.

PixelMap layer properties (in addition to Common layer properties)

Effect

Default value is 1. The min/max values are 0 (no effect) and 1 (maximum effect). Decreasing the value from 1 to 0 will reduce the effect of the Pixel map on the content.

Scale

Default value is 1. The min/max values are 1 and 16. Increasing the value from 1 to 16 will increase the size of the Pixel map by a specific scale factor. For example, a value of two means the PixelMap’s width and height will double, a value of three means the Pixel map’s width and height will triple etc.

Mode

Normal:

Blocky:

Pixel map

This points to the still image file that defines the PixelMap. Selecting this property will open the Texture object library, which shows all of the Texture still image files saved on your local hard-drive in the DxTexture folder. However, before placing a Pixel map you will need to create it.

To create a Pixel map:

Create a .png image using a program such as Adobe Photoshop. The Pixel map can only be increased by a maximum scale factor of sixteen so if it is going to be applied to the whole screen make sure the Pixel map’s resolution is high enough.
Make the areas to be see-through in the d3 screen see-through in the Pixel map.
Make the areas to be illuminating in the d3 screen white in the Pixel map.
Make the areas to be black in the d3 screen black in the Pixel map.

See the Placing media files for a project sub-chapter to understand where to place a custom still image file and how to access it in d3. Also save the file to a supported file format.

The Pixel map will be applied to the screen on a pixel by pixel basis.

9.22 Pixelate

The Pixelate layer pixelates whatever content is pumped into it.

Pixelate layer and editor

The Pixelate layer supports the use of Arrows, allowing content layers to be piped into the Pixelate layer. For more information please see the sub-chapter Composing layers using Arrows.

Pixelate layer properties (in addition to Common layer properties)

Size

The size of each pixel.

Mask

Optional bitmap to mask the pixelate effect.

9.23 PlayMode

The Play Mode layer overrides the current play mode set in the Timeline.

Play Mode layer and editor

Play Mode layer properties

Play Mode

The play mode to be in. The options are:

Any: Any mode has no effect; the current play mode specified in the Timeline will not be overridden.

Play: Play mode does not respect section boundaries; when the end of a section is reached, the cursor continues into the next section, stopping only at the end of the track.

Play to end of section: in Play to end of section mode the Play cursor will only progress until it reaches the end of a section (i.e. just before the next cue point).

Loop section: in Loop section mode the Play cursor will progress until it reaches the end of a section, i.e. just before the next cue point. At this point, the cursor will loop back immediately to the beginning of the section and will continue playing from there.

For more information on these play modes see the sub-chapter Navigating the Timeline.

9.24 Radar

The Radar layer is one of the simplest generative layers. It generates a moving beam with a bright leading edge that fades to a black trailing edge.

Radar layer and editor

Radar layer properties (in addition to Common layer properties)

Speed

This controls the speed of the beam movement. Positive numbers go rightwards/downwards; negative numbers go leftwards/upwards.

Beam Size

This controls the size of the beam. When set to 255, the width of the beam is the same as the width of the canvas.

Direction

This is an option property; the two options are horizontal and vertical.

Timing

This controls how the speed property is interpreted. The options are:

Per sec: the radar beam moves at x pixels per second, regardless of how the play cursor moves. This means that the radar beam position is not predictable anywhere on the timeline.

Per beat: the radar beam moves at a speed related to the current bpm, so that it moves an integer number of complete sweeps per beat. Furthermore, the position of the beam depends on the timeline position, so the beam is guaranteed to be at the same position at the start of every beat.

Per frame: the radar beam moves x pixels every frame.

9.25 Scan

The Scan layer is a simple test pattern generator that is useful for checking output signal timings. It generates a single-pixel wide horizontal red line and a single-pixel wide vertical blue line. Each line moves forward by a single pixel per frame.

Scan layer and editor

It sometimes happens that downstream DVI processing devices such as switchers, scalers or LED processors skew the timing of the DVI signal, causing the appearance of jerky playback. At such times it is useful to be able to generate a visual signal that is visibly smooth on the computer, but clearly shows signal skews on the output devices.

The Scan layer is also useful for checking if the 3D screen models have been correctly imported into d3. If the model has incorrect texture coordinates, you will see a single row or column either disappearing or spanning two separate sub‐objects.

Scan layer properties (in addition to Common layer properties)

Step

This controls the movement speed of the lines. The number you fill is is the number of frames the lines moves forward per pixel. Increasing this number slows the line down. Setting step to 0 allows you to control the position of the lines manually using the x and y properties.

x, y

When step is set to 0, you can directly control the position of the lines by adjusting x and y. The position of the vertical blue line is controlled by x, while the position of the horizontal red line is controlled by y. Both are measured in pixels.

Draw

There are two options:

Lines: this shows red and blue lines which intersect to form a crosshair (useful for LED screens).

Dot: this shows a single white dot at position x, y. This option is more useful when calibrating single‐pixel strings (useful for linear fixtures).

Timing

There are two options:

Pixels: if set to pixels, the crosshair moves one pixel every (step) frames.

Time: if set to time, the crosshair moves at (1/step) pixels per second.

9.26 ScreenPosition

The Screen Position layer allows you to simulate moving screen assemblies within the Stage Visualiser by placing Screen Configuration key-frames onto the key-frame editor. d3 will then animate the screen(s) between the Screen Configuration key-frame positions.

Screen Position layer and editor

Screen position layer properties (in addition to Common layer properties)

Axes

There are five options to choose from:

All: this affects the properties position, rotation and animate.

Position only: this affects only the position property.

Rotation only: this affects only the rotation property.

Animate only: this affects only the animation property of the screen type Moving mesh which is currently not in an official d3 release.

Position and rotation: this affects only the position and rotation properties.

Config

This property lets you create a new configuration of screens you want to animate. Please see the section below ‘Creating a screen position animation’ for step-by-step instructions on how to do this.

Master

The master property allows you to exert fine control of the movement speed between configuration positions. By default, d3 generates a linear animation between configuration points. However, if there are any keyframes on the master timeline between the configuration endpoints, d3 will use the master curve to animate between the endpoints.

Please note: at this time, d3 does not output control instructions to Screen movement systems, nor does it receive signals from Screen movement systems [beta feature]. The Screen Position layer is for pre-visualisation purposes only.

Actions

Please note: when using the Screen Position layer import properties make sure your layer names and screen names have no spaces or characters such as dashes or slashes etc otherwise the layers and screens will not import. In addition, the export and import properties won’t work if there are no “MTC” references on the track. Therefore put a note on the track at the start for example saying ‘MTC:0.0.0.0’. These issues will be fixed in a future d3 release.

There are six options to choose from:

Export: makes a list of time based positions of screens when they change. This list is saved as a .txt file called screenpos_yourlayername.

Export all in track:

Import:

Import all in track:

Export cues: makes a time list of when specific configuration names are key-framed. This list is saved as a .txt file called screencues_yourlayername.

Export configs: makes a list of configurations. This list is saved as a .txt file called screenconfigs_yourlayername.

The .txt files are saved in a new folder called table inside the specific Project folder. For more information on where the specific Project folder is located please see the sub-chapter Projects location/structure. You can open the .txt file with Microsoft Excel or Open Office.

Creating a screen position animation

Create a Screen Position layer and assign a mapping type that contains all of the screens you want to control. For information on mapping types please see the chapter Content Mapping.
Open the Config key-frame editor by left-clicking config and create and place a Screen Configuration key-frame. The process used to create/sequence Screen Configuration key-frames is the same as any other layer type that uses key-frame editors, for example the AnimateCamera2 layer. For an example on how to create and animate key-frames using the key-frame editor please follow the step-by-step instructions in the AnimateCamera2 sub-chapter.
Use the Screen Configuration editor to edit the position of the screen. Please read the section below ‘Screen Configuration properties’ for more information on how to do this.
Create as many Screen Configuration key-frames as required and place these on the Config key-frame editor. Press the Play button and d3 will animate the screen between the Screen Configuration key-frame positions.

Screen Configuration properties

You need to use the Screen Configuration editor as part of the process to animate a screen.

To open the Screen Configuration editor:

Right-click a screen configuration from the Screenconfigurations manager

Screen Configuration editor

Add / Remove Screens

To add a screen to the Screen Configuration editor left-click the + button. This will open the Screens manager.

Process used to add a screen to the Screen Configuration editor

Left-click the screen you want to add, in this example screen 2. This will add screen 2 to the Screen Configuration editor.

Screen 2 added to the Screen Configuration editor

Edit the Screen Configuration editor’s position or rotation properties.
To remove a screen from the Screen Configuration editor left-click the – button and select the corresponding screen from the Screens manager.

Position

This controls the screen position in the 3D space. There are three numbers laid out horizontally: respectively the x (left/right), y (up/down) and z (into/out of the screen) coordinates.

Rotation

This controls the rotation of the screen mesh, in degrees. The x component controls the rotation around the x axis; the y component around the y axis; and the z component around the z axis.

9.27 Scroll

The Scroll layer takes any bitmap and scrolls it in a horizontal direction across the output canvas, repeating it when necessary. It is particularly useful in situations where you want to generate scrolling content and want to modulate the scrolling speed in real time (for instance, so that content moves at the right speed for television cameras). In these situations, the process of making a video containing scrolling content is too slow.

Scroll layer and editor

The Scroll layer supports the use of Arrows, allowing content layers to be piped into the Scroll layer. For more information please see the sub-chapter Composing layers using Arrows.

Scroll layer properties (in addition to Common layer properties)

Speed

This controls the horizontal scrolling speed, measured in pixels per beat. Positive numbers scroll the image to the left; negative numbers scroll it to the right.

Border

The Scroll layer can generate a black border above and below the image, scaling the image down in the process. The border property controls the height of this border, in pixels.

9.28 Serial

The Serial layer allows commands to be sent to external devices via a serial port. In order to use the Serial layer you first need to create a Serial device.

Serial layer and editor

Serial layer properties

Device

Selects the COM port to send commands on.

Command

A sequence of serial commands, each specifying a different command to send. A serial command is a string sent to a device from a serial port.

Any ‘%’ character will be substituted by a binary value of the Variable property.
Any ‘$’ character will be substituted by a string representation of the Variable property.

For example, changing an arbitrary matrix preset via serial, the manual tells us that the command should take the format:

{^<id>}

with <id> being the numeric value of the preset. We substitute the <id> with our variable property so we can change the preset whenever we want. Here’s how it should look in d3;

{^$}

So we are swapping <id> with a string representation of our variable. This example is used to explain step-by-step how to create Serial Commands in d3 below.

Variable

If the serial commands take a numeric parameter, this sets the number to send.

Creating a Serial Command

To create a Serial Command:

Create a Serial layer and open its editor.
Left-click command. This will open the Command Key-frame editor and the Serialcommands manager.
Type the name of your new Serial Command, in this example preset 1, in the new serial command text field and hit Enter. This will create the new Serial Command, add it to the Command key-frame editor and open the Serial Command editor.

Process used to create a Command, in this example Preset 1, and place it on the Command key-frame editor

Type a string in the string text field from the Serial Command editor. In this example we have typed {^$}. This will change a arbitrary matrix preset via serial.
Set the variable numeric value. This value will be used to send the command. In this example the arbitrary matrix preset will change using the numeric value 10.
Repeat the steps listed above if you want to create another Serial Command.
Left-click and drag the new Serial Command(s) from the Serialcommands manager to a specified point on the Command key-frame editor.
Hit Shift and < to jump to the first bar of the track.
Hit Enter to trigger normal play mode for the commands to be sent to your external device via a serial port.

Trouble-shooting and cable types

For a trouble-shooting guide see the Trouble-shooting and Cable types section under the Serial Devices sub-chapter.

9.29 SpinBitmap

The SpinBitmap layer displays a moving, rotating bitmap. It is able to perform continuous rotation, and can tile its image. Since a bitmap contains an alpha channel, this layer can display up to three layers of images, one behind the other.

SpinBitmap layer and editor

The SpinBitmap layer supports the use of Arrows, allowing content layers to be piped into the SpinBitmap. For more information please see the sub-chapter Composing layers using Arrows.

SpinBitmap layer properties (in addition to Common layer properties)

Tile

If set to off, the central image is not tiled and the move speed property has no effect.

Rotation speed

If this is set to 0, the rotation angle is controlled by the angle property. Otherwise, this property controls the rotation speed in degrees per beat.

Scale

This controls the scaling of the bitmap. Somewhat counter-intuitively, increasing the number reduces the size of the bitmap and increases the number of tiled copies.

Move speed

This controls the movement speed of the image, in each of the x and y axes, in pixels per beat.

Angle

If rotation speed is set to 0, this property controls the angle. Otherwise, it has no effect.

Depth

With values ranging from 0 to 2, depth controls the number of layers displayed. This only results in a visual effect if the bitmap is partially transparent, i.e. contains an alpha channel.

Depth blend

This controls the blend mode applied between the multiple layers. The options to choose from, are add, over, alpha or multiply. For more information on blend modes please see the section ‘blendMode’ in the Common layer properties sub-chapter.

Offset

This shifts the entire field left or right, measured in pixels.

9.30 Strobe

The strobe layer creates a flashing strobe effect over multiple screens.

Strobe layer and editor

Strobe layer properties (in addition to Common layer properties)

Rate

Speed of strobing, in cycles per beat. 0 = stop flashing.

Proportion

The amount of time within the cycle that the strobe is on. 0.5 = half the cycle time is white.

Attack

Speed of attack (ramping from 0 to full brightness). 1 = instant, 0 = slowest.

Decay

Speed of decay (raming from full brightness down to 0). 1 = instant, 0 = slowest.

Cycle

The cycle of the strobe. 0 = all screens flash together, 1 = screens flash in turn.

Randomise

The randomness of the cycle order. Yes = order of the screens is randomised, No = order of the screens is not randomised.

Min brightness

The minimum brightness outputted by the layer. 0 = 0%, 1 = 100%.

9.31 Target2

The Target 2 layer is similar to the Target layer in that it allows control of moving head lights. The main difference is that you can edit multiple fixture targets, whereas the Target layer only allows you to edit a single fixture target.

Each light in the target screen (which must be of the screen type DmxLights) has its own target point. The Target 2 layer allows you to control how these target points are generated from the lights’ base positions.

Please read the sub-chapter DmxLights for information on how to create a DmxLights screen. Afterwards please read the sub-chapter Creating a fixture for information on how to add a fixture to a DmxLights screen.

Target 2 layer and editor

Target 2 layer properties (in addition to Common layer properties)

Position

Determines whether targets are applied as absolute, or relative to the fixtures.

Target

This property lets you create a new configuration of fixture targets, each specifying a target position set which can be animated. Please see the section below ‘Targeting/animating fixtures’ for step-by-step instructions on how to do this.

Targeting/animating fixtures

Create a Target2 layer.
Target the fixtures by assigning a mapping type with the lights you want to control. For more information please see the sub-chapter Targeting fixtures.
Open the Target key-frame editor by left-clicking target and create and place a Fixture Target key-frame. The process used to create/sequence Fixture Target key-frames is the same as any other layer type that uses key-frame editors, for example the AnimateCamera2 layer. For an example on how to create and animate key-frames using the key-frame editor please follow the step-by-step instructions in the AnimateCamera2 sub-chapter.
Use the Fixture Targets editor to edit the position of the fixture targets. Please read the section below ‘Fixture targets properties’ for more information on how to do this.
Create as many Fixture Target key-frames as required and place these on the Target key-frame editor. Press the Play button and d3 will animate the lights between the Fixture Target key-frame positions. In the image above the target fixtures have been offset upwards by 4 units.

Please note: to visualise the fixtures following the fixture targets you must have Aimable set to ‘yes’. This property is accessed via the fixture’s object editor. For more information please see the ‘Fixture properties’ section within the sub-chapter Creating a fixture.

Fixture targets properties

You need to use the Fixture Target editor as part of the process to animate moving-head fixtures.

To open the Fixture Targets editor:

Right-click a fixture target in the Fixturetargets manager.

Fixture Targets editor

Offset

This controls the offset of the fixture target, in meters, from the base light position.

Rotation

This controls the rotation of the fixture target, in degrees. The x component controls the rotation around the x axis; the y component around the y axis; and the z component around the z axis.

Scale

This controls the scale of the fixture target. 1 = no change, >1 = scale up. If all are set to 0, the lights will focus on a point; if two are set to zero, the lights will focus on a line.

9.32 Target

The Target layer is similar to the Target2 layer in that it allows control of moving head lights. The main difference is that you can only edit a single fixture target, whereas the Target2 layer allows you to edit multiple fixture targets.

Each light in the target screen (which must be of the screen type DmxLights) has its own target point. The Target layer allows you to control how these target points are generated from the lights’ base positions.

Target layer and editor

Target layer properties (in addition to Common layer properties)

Offset

This value is added to the (x, y, z) stage position of each fixture. To move the fixture targets left and right, change the x property, to move them up and down, change the y property and to move them in and out, use the z property.

Scale

This scales the target points in each of the three axes x, y and z. Values higher than 1 increase the size of the target grid, causing the beams to splay outwards; values lower than 1 reduce the size of the target grid and setting the scale to 0 causes all beams to converge.

Rotation

This rotates the target grid around each of the x, y and z axes (angles specified in degrees).

For step-by-step instructions on how to control moving head lights using the Target layer please see the sub-chapter Targeting fixtures.

9.33 TrackJump

The Track Jump layer allows you to automatically jump between tracks. This can be useful in situations where you have a permanent or semi-permanent fixed installation that needs to continue running all day, switching from one track to the next or jumping between sections within the same track.

This layer works as follows: whenever the play cursor enters the extent of the layer and the cursor continues to move forward (and thus does not stop), d3 will jump to the track and section specified in the track‐jump layer and perform the specified action.

Track Jump layer and editor

Track Jump layer properties

Track

This specifies which track d3 should jump to. If set to (None) or left empty, no track jump is issued and d3 stays in the same track.

iSection

This specifies which section number d3 should jump to; 0 means jump to the first section.

Play mode

This specifies the transport control mode that d3 should enter when jumping to its destination. The options to choose from are stop, play, play-to-end-of-section, and loop section.

Fade through black

If set to yes, d3 will fade to black, then fade up again after the jump. If set to off, no fade is issued.

9.34 Trigger

The Trigger layer allows you to trigger still image content at specific points of time on your screen(s).

Trigger layer and editor

Trigger layer properties (in addition to Common layer properties)

Bitmap

Still image file to be placed in the key-frame editor.

Speed

The transition speed of the triggered content. Positive = bottom to top, negative = top to bottom.

Size x, y

The pixel size of the image.

Trigger

Every trigger keyframe triggers the chosen image.

9.35 Video

The Video layer is used to play video.

Video layer and editor

Video layer properties (in addition to Common layer properties)

Speed

Selects playback speed. When this is set to 1, the video is played at its normal frame‐rate; when set to 2, the video is played at double speed, and so on.

Please note: playback speed is set at the point where the video keyframe is encountered in the video keyframe editor. Once this is set, the playback speed does not change, even if it varies over time. To change the playback speed, drop a speed keyframe at the point where the video thumbnail appears in the video keyframe editor.

Mode

This specifies the playback mode. There are three modes; each one has a specific behaviour that is useful for a different situation.

Normal: when the play cursor stops, the video will also stop and the frame number will lock to the timeline position. When the cursor continues to play or holds at the end of a section, the video will play continuously. Jumping around the timeline while playing does not affect which frame is being played.

Locked: if the play cursor continues to play or stops at the end of a section, the video frame number locks to the timeline. When the play cursor holds at the end of a section, the video will play continuously.

Free‐run: if the play cursor continues to play or stops at the end of a section, the video will play continuously. Jumping around the timeline while the cursor is playing or has stopped does not affect which frame is being played.

At end point

This specifies what happens when playback reaches the end of the video clip. There are three options to choose from:

Loop: when playback reaches the end of the video clip, the clip will loop immediately back to the beginning and will start playing again from there.

Ping-pong: when playback reaches the end of the video clip, the clip will play in reverse back to the beginning.

Pause: when playback reaches the end of the video clip, the clip will pause on the last frame.

Transition Time

The transition property specifies the dissolve time, in beats, when switching from one video clip to the next on the timeline. By default, this is set to 0, so the player cuts immediately from one clip to the next. Setting this value to 1 causes the player to dissolve from one clip to the next over 1 beat.

Volume

Some video clips may contain audio. You can fill in any number between 0 (mute) and 255 (full) in the text field to set a constant volume, or open the property’s key-frame editor to fade volume in or out.

Output

If the video has an audio track, this controls which audio output device the audio is played to.

Treshold

The threshold of the keying. Colours closer than (threshold) to the key colour become transparent.

Hardness

The hardness of the keying. Lower numbers produce softer edges and higher numbers produce harder edges between transparent and opaque areas.

Key colour rgb

The value of the key colour, 0 – 255, causing the key colour to become transparent.

Scale

Controls the size of the video.

Aspect

Controls the aspect ratio of the video, higher numbers make the frame taller.

Pos xy

Position of the video; x = horizontal position, y = vertical position. 0 = centre of canvas, -1 = top edge of canvas, +1 = bottom edge

Rotation

Rotation (in degrees) of the video.

Crop left, right, top, bottom

Crops the frame from the respective edge. 0 = no crop, 1 = entire frame crop.

Attaching colour shift objects to individual video clips

It is possible to attach a colour shift object to an individual video clip so that every time you use that video clip it will colour shift in the same way. You can then place these video clips onto the key-frame editor and sequence these video clips. To do this:

Create a Video layer.
Open the Video Clip editor by right-clicking video in the Video layer editor.

Video Clip editor, in this example Daniringparticles.mov, opened by right-clicking Video from the Video layer editor

If you have not done so already, read the ‘Content’ section located towards the end of the Common layer properties sub-chapter to learn how to import Video files into a d3 project.
Open the Video Clip options menu by right-clicking the blue title bar of the Video Clip editor.
Duplicate the video clip by typing the name of the new video clip into the duplicate text field and hitting Enter. You will notice the title bar of the Video Clip editor change; it is now the object editor for your new video clip. The video clip will also be added to the Video key-frame editor at the current cursor position.

New video clip Desaturateparticles.mov 2 added to the video key-frame editor at the current cursor position

Left-click colour shift from the Video Clip editor. This will open the ColourShifts manager showing a list of colour shift objects. The colour shift object assigned to a video clip may be untitled, in which case it is unique to that clip. Renaming the colour shift object will add it to the ColourShifts manager, allowing it to be used by multiple clips.

Creating a new colour shift object using the colour shifts manager

Please note: sometimes when video clips are exported to DXV there is a noticeable colour shift in the clips. This is a known issue and will be ammended in upcoming releases. A quick work around is to create a colour shift object that ammends the problem, and then reuse it on all subsequent clips with the same issue.

Create and attach the colour shift object to the video clip by typing the name of the new colour shift object, for example desaturate, into the new colourshift text field and hitting Enter. This will open the Colour Shift editor. For information on the colour shift properties please scroll down to the section ‘Colour Shift’ in the Common layer properties sub-chapter.

Colour shift editor for the newly created colour shift object Desaturate

Edit the properties. In this example we have desaturated the video clip by decreasing the saturation scale property to 0.
Select the Track bar at the point in time where you wish to play the track from.
Hit Enter to trigger normal play mode and watch the video play on your screen(s).

Linking two video layers

Sometimes you may want two video layers to play different video files, but you want to ensure that both layers play exactly the same frame at the same time. Drawing an arrow between the two layers will lock the destination layer’s frame number to the source layer’s frame number. For information on arrows please see the sub-chapter Composing layers using Arrows.

9.36 VideoTransition

Coming soon.

Working with Layers

Content Mapping