NewTek TriCaster 2 Elite (3 RU) - Manual (Page 300)

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offset, or you can use the Proc Amp’s U Offset and V Offset controls to do so (as always, source controls are
best). Adjustments to U Offset move the trace left or right, while V Offset changes adjust its vertical position.
Let’s move on to a slightly mor e rigorous testing.
D.2.3 COLOR METRICS
At this point, we’ve assured ourselves that the signal from the camera is neither too bright nor too dark, that
its output falls within broadcast legal luminance limits, and that the black & white part of the signal does not
have an unwanted color cast.
We haven’t done anything yet, though, to assure our reds are red, not slightly brown, or that our blues are
not slightly green or magenta, etc. The Vectorscope can provide much more specific information about your
cameras c olor signal. Let’s see how it can assist you to ensure your colors are accurate.
U SING C OLOR B ARS
You’ll no doubt have seen the familiar color bars used as a standard reference for video signal calibration.
Two examples are shown here. Figure 337 (NTSC) is an example of the color bars used in NTSC countries,
while Figure 338 (PAL) is a PAL example, common throughout European nations.
FIGURE 337 (NTSC) FIGURE 338 (PAL)
You can use color bars in conjunction with Waveform and Vectorscopes to make sure the video supplied to is
consistent, accurate and broadcast legal. Most video cameras are capable of displaying color bars – check
your camera manual to see how to display these (given a choice, use 75% bars). Then look at the Vectorscope
to see how it traces the individual colors comprising the image.
The Vectorscope graticule has six distinct rectangular targets , one each for Yellow, Red, Magenta, Cyan, Blue,
and Green. The targets are small rectangles with a cross-hair superimposed on them.
When a source is properly calibrated, the trace from the different colored segments of the color bars
displayed will fall right inside their individual targets (see Figure 339).