Revision 2018112

Iris M Training

Manual

Version 2.3

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Table of Contents

Section 1 Introduction to Motion Amplification 7

Technology Overview 8

Benefits of Motion Amplification 8

Traditional Technologies 9

Vibration Amplitude Units 13

Review 14

Section 2 Camera, Lighting, and Lenses 15

The Camera 16

The Lenses 17

Aperture Adjustment 19

F Ratio 20

Depth of Field and Aperture 20

Tripod Use 23

USB 3.0 Cable 24

Lighting 24

Review 25

Section 3 Introduction to Motion Explorer 27

RDI Software Applications 28

Motion Explorer 29

Getting Started 29

Ribbon Bar 29

Review 35

Section 4 RDI Acquisition 37

Data Acquisition 42

Recording Properties 43

Recording Association 44

Camera Properties 44

Aliasing 45

Spectral Resolution 46

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Framerate vs Fmax 48

Lighting Modes 49

Lighting at 60 or 50 Hz 50

Relationship between Framerate and Brightness 51

Cropping the Image 53

Image Properties / Calculated Values 56

Lighting 57

Review 58

Section 5 RDI Motion Amplification 59

Launching RDI Motion Amplification 60

Basic Playback 61

Amplification/Playback Speed Sliders 62

Why is the recording so grainy? 63

Create Original/Amplified Side-By-Side Video 66

Modify Video Playback 68

Recording Editing Tools 70

Applying a Grid and Image Annotation 74

Vibration Measurement 77

Waveforms, Spectra, and Orbits 79

Applying Multiple Distance Measurements 84

Frequency Based Filtering 87

Explanation of Filter Types 89

Image Stabilization 93

How to Stabilize 93

Review 96

Section 6 Introduction to Motion Studio 97

Launching Motion Studio 98

Section 7 Maintaining the Motion Explorer Database and Basic Troubleshooting

Tips 101

Maintaining the Motion Explorer Database 102

Move Files 107

Troubleshooting 108

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Exercises

Exercise 1 - Create a Hierarchy 31

Exercise 2 - Storing a Video in Motion Explorer 32

Exercise 3 - Focus the lens 38

Exercise 4 - Changing lenses 40

Exercise 5 - Cropping the Image 55

Exercise 6 - Launch Motion Amplification 61

Exercise 7 - Basic Motion Amplification 63

Exercise 8 - Basic Video Export 64

Exercise 9 - Advanced Video Export 66

Exercise 10 - Advanced Video Export 68

Exercise 11 - Threshold Mapping 70

Exercise 12 - Applying an Amplification Region 72

Exercise 13 - Annotation 76

Exercise 14 - Vibration Plotting 81

Exercise 15 - Multiple Distance Locations 85

Exercise 16 - Frequency Based Filtering 87

Exercise 17 - Phase Analysis 90

Exercise 18 - Data Export 102

Exercise 19 - Data Import 105

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pg. 7

Section 1

Introduction to Motion

Amplification

Objectives:

1. Introduce Motion Amplification technology

2. Discuss how Motion Amplification compares with other

predictive maintenance technologies

3. Review Motion Amplification vibration amplitude units

pg. 8

Technology Overview Motion Amplification (MA) is a relatively new

technology that allows the analyst to easily

visualize minute amounts of movement that

would ordinarily be invisible to the naked eye.

It uses a high-speed machine grade camera,

along with RDI Technology’s patented

processing algorithms, to create a meaningful

data file that can be analyzed using RDI’s

proprietary Motion Amplification software.

This Motion Amplification Software

effectively converts each pixel in the video

image into a sensor that measures vibration

and motion.

Benefits of Motion Amplification Improved Safety – Since the measurements are totally non-contact, there is much less risk of

injury or even death, as compared to conventional route-based vibration analysis, since the

person acquiring the data never has to touch the machine.

Reduced Unplanned Downtime – Motion Amplification makes it easy to see exactly what your

“bad actors” are doing, so corrective actions can be more accurately planned and executed.

Complements RCA Activities – Root Cause is often visually apparent.

Diverse Applications – Motion Amplification can be used on a wide variety of equipment

including rotating machines, structures, process lines, piping, etc.

Quick and Easy – There is very little set up involved, and the capture process takes only a few

seconds, which means it can be used very often as a trouble shooting tool.

Actionable Information – The results of Motion Amplification are easy to see in standard video

format, which enhances communications with facility personnel.

Less Training – Compared to vibration analysis, which often takes years to learn, Motion

Amplification technology takes only a few days to become proficient.

pg. 9

Traditional Technologies Vibration Analysis has long been used as a predictive maintenance tool and for maintenance

troubleshooting.

The typical process for vibration analysis includes:

● Setting up machinery measurement points in a vibration analysis software database.

● Transferring the measurement information to a portable vibration analyzer.

● Placing an accelerometer at each machinery measurement point, one by one, until all

measurements have been acquired.

● Transferring the measurements back to the vibration analysis software.

● Analysis of the vibration spectra and waveforms by a trained and experienced vibration

analyst in an attempt to identify and quantify the cause and severity of a problem.

● Report generation so the findings of the vibration analyst can be relayed to the

maintenance and planning personnel.

While vibration analysis has proven to be an indispensable technology in nearly every type of

industrial application, there are some major challenges involved:

● Measurements are typically made only at bearing housings.

● Measurement locations need to be physically accessible and (somewhat) clean.

● The data (vibration spectra and waveforms) needs to be analyzed by an experienced

vibration analyst. It can take upwards of two years for an analyst to get the necessary

training and experience required to properly analyze vibration data.

● Many times, the vibration data is inconclusive. Which means more troubleshooting, (e.g.

phase analysis or ODS) needs to be performed in order to identify the root cause of the

problem.

● Data collection is typically NON-Simultaneous, which means phase information needs to

be acquired using a separate process.

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Phase Analysis is often the first line of advanced troubleshooting conducted by the vibration

analyst when the root cause of the machinery problem can’t be identified with the route-based

vibration analysis.

With phase information, an analyst can identify not only what frequency and amplitude the

measured machines components are vibrating at, but also the timing of when one part of the

machine is moving compared to when another part of the machine is moving.

Phase analysis often provides an analyst insight about conditions such as looseness,

misalignment, soft foot, bent shaft, etc.

The phase analysis procedure involves:

● Stopping the machine to apply reflective tape to the shaft.

● Setting up a photo tach, or, if using a two-channel analyzer, a reference vibration sensor.

● Acquiring amplitude and phase measurements at each location, one at a time.

● Manually recording the results to a bubble diagram.

● Analyzing the bubble diagram to interpret the result (if any).

Phase analysis presents nearly the same challenges as spectrum and waveform analysis, including

the fact that the resulting data, (bubble diagram), is only useful to an experienced vibration

analyst. Therefore, the results need to be interpreted and put into language that mechanics and

management personnel can understand and act upon.

ODS (Operational Deflection Shape) is an advanced method of performing phase analysis. This

is often the next logical step in the vibration analysis troubleshooting process. ODS is similar to

phase analysis in that the analyst is able to get a better understanding of how the machine in

question is moving. But unlike phase analysis, the analyst can view an animation of the

machinery movements instead of a bubble diagram.

The steps involved in performing ODS are as follows:

● Make a diagram or sketch of the machine being analyzed.

● Acquire amplitude and phase measurements at as many points and directions as deemed

useful. Measurements are taken on the base, on the machine, and on structural elements

of the machine.

● Transfer the measurement data to an ODS software.

● Create a visually accurate model of the machine in the ODS software.

● Number the measurement points in the model exactly as the measurements were taken

on the machine.

● Assign the measurement point data to the numbered points in the model.

● Perform the animation function in the ODS software to view the result.

● Create a video file of the animation to be forwarded to the customer along with any

recommendations gleaned from the analysis of the ODS animation.

pg. 11

A properly executed ODS can go a long way in helping to solve even complex vibration related

problems. But ODS also has drawbacks:

● Need to purchase separate ODS software

● Time spent modeling the machine typically measured in hours or days

● Time spent acquiring data typically measured in hours

● Very high risk of getting questionable data at one or more measurement locations

● Very high risk of making errors when assigning measurements to the model

● Even with hundreds of measurement locations, important locations may still be missed

● Typical ODS animation includes movement from “interpolated” points, which aren’t

actually measured.

pg. 12

Motion Amplification combines many of the benefits of traditional vibration analysis, phase

analysis, and ODS. For one thing, the amount of data available from a short high-speed video file

is infinitely more than with traditional vibration analysis.

Also, all the data in the entire image is collected simultaneously, which means phase information

is available without using a separate process.

With Motion Amplification, data from each pixel in the image can be used as a vibration

measurement location. So instead of 10 to 12 measurements from a typical motor-driven piece

of equipment, the analyst can get vibration information from millions of locations.

pg. 13

Vibration Amplitude Units When proper setup and data acquisition procedures are followed, the IRIS M video data can be

used to measure vibration frequency and amplitude of almost anything in the image.

Using the Motion Amplification software application, the user can generate vibration waveform

and spectrum data. This is very similar to what a traditional Fast Fourier Transform (FFT) Analyzer

is used for in route based PDM activities.

What needs to be understood however, is that the measured vibration amplitude units used in

Motion Amplification are Mils (or microns) of displacement. This is different than the typical FFT

Analyzer, which typically measures G’s of acceleration.

Because acceleration values are typically very small at low frequencies, traditional

accelerometers used with the FFT analyzers have a difficult time measuring low frequency data

below about 2 Hz, or 120 CPM. However, Motion Amplification measures actual displacement.

Therefore, it remains very useful, even on very slowly rotating equipment.

In most situations, the forces that cause rotating machinery to move with any measurable

displacement are Imbalance, Misalignment, and Looseness. Therefore, these are the most

common forcing functions identified through the analysis of Motion Amplification derived

vibration analysis.

Other higher frequency forcing functions, such as Anti-Friction Bearing Defects, Gear Mesh

Vibration, and Lubrication Defects are better detected and analyzed using traditional vibration

analysis techniques.

pg. 14

Section 1

Review

1. How is Motion Amplification safer than traditional route-based vibration analysis?

2. What are the native amplitude units measured with Motion Amplification?

3. In what ways does Motion Amplification differ from ODS?

4. What are the most common machinery forcing functions identified through Motion

Amplification?

pg. 15

Section 2

Camera, Lighting, and Lenses

Objectives:

1. Gain an understanding of basic photography techniques

2. Learn how to use the equipment included in the IRIS M kit

3. Understand common terminology associated with Motion

Amplification data acquisition

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The Camera Motion Amplification uses a high-performance streaming video camera capable of capturing high

quality grayscale imagery.

Camera utilizes an imaging sensor with pixel array of 1920 x 1200, resulting in a resolution of over

2.3 MP.

The camera is capable of capturing recordings at up to 1300 FPS (Frames per Second).

The camera is connected to the acquisition unit by a USB 3.0 cable, which provides power to the

camera and video streaming to the acquisition unit.

The USB 3.0 cable should be connected to the camera at all times by the screw lock connector

and the cable should not exceed 3 meters in length (9.84 ft).

It is possible to make the camera work with cables up to 5 meters in length, however this is

unsupported, as the camera can lose data integrity at these lengths.

If the camera is disconnected from the acquisition unit while the acquisition software is running,

the software must be restarted once the camera is reconnected.

GPIO connector

(for future use)

USB 3.0 connector with

screw locks

pg. 17

The Lenses

A standard kit includes

several lenses with different

focal lengths.

To make the lenses easily

identifiable they are color

coded based on the prism or

rainbow color spectrum.

The types of lenses used with

the camera are C-Mount

lenses.

The lenses mount to the front

of the camera via a threaded

interface.

• C-Mount Lens

• Other lens types are CS, F-mount (Nikon), EF mount (Canon) etc.

• Adapters exist but C mount are typically higher quality

pg. 18

The focal length of the lens determines the field of view and magnification.

The lenses supplied in the IRIS M system have a fixed focal length, which is printed on the body

of the lens. These lenses do not allow the focal length, or “zoom”, to be adjusted.

The only way to change the focal length of the camera is to change lenses.

By changing lenses to double the focal length, the magnification will double, while the field of

view will decrease by one half.

By changing lenses to half the focal length, the magnification will decrease by one half and the

field of view will double.

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Aperture Adjustment The aperture adjustments vary on most lenses from f/1.4 to f/22. These settings are sometimes

referred to as “f-stops”, because many camera lenses have detents that make it easy to

determine the exact aperture setting.

The lenses supplied with the IRIS M system do not have detents, so the actual aperture setting is

made by lining up the line on the camera lens to the desired setting.

In the illustrated example of aperture settings below, the aperture setting of f/1.4 allows the

most light to enter the camera sensor, while the setting of f/16 allows the least.

Each setting displayed here represents either a halving or doubling of the amount of light

entering the sensor. For instance, the setting of f/2.8 allows exactly half the amount of light than

the setting of f/2, but double as much light as the f/4 setting.

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F Ratio Notice that the aperture setting values appear to get higher as the aperture opening decreases.

This is because the setting is the ratio between the focal length of the lens and the diameter of

the aperture opening.

In theory, if the aperture opening was 50mm and the focal length of the lens was 50mm, the f-

ratio would be f/1. If the aperture were then closed to 25mm on the same focal length lens,

the f-ratio would be f/2.

Depth of Field and Aperture Another consideration when making aperture adjustments is the Depth of Field.

The Depth of Field is the distance between the closest and furthest points in the image that is in

focus.

When the depth of field is shallow, a smaller amount of the image appears in focus, or put

another way, the closest and farthest objects in focus are not that far apart.

A shallow depth of field is often used in portrait photography, where the subject is in sharp focus,

but the background is blurry, to give emphasis to the subject being photographed.

On the other hand, landscape photography is typically done using a much wider depth of field so

that the entire image (all distances) can be focused.

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F Ratio = f/1.4

F Ratio = f/4.0

F Ratio = f/22

Shallow Depth of Field

With a larger aperture, the depth of field is

shallow.

Notice the blocks in the foreground are in

focus, but the blocks in the middle and at the

back are blurry.

Here the closest and furthest object in focus

are not far apart. This is typical of portrait

photography.

Medium Depth of Field

Closing the aperture, a bit makes the depth

of field a bit larger.

Here, both the blocks in the foreground and

in the middle are in focus, but the blocks at

the back of the image are still blurry.

Wide Depth of Field

Setting the aperture to f/22, the depth of

field is now much larger.

This allows all the blocks in the image to be

in focus.

Now the closest and furthest object in

focus are further apart. This is typical of

landscape photography.

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One problem with closing the aperture to allow for a greater depth of field is that a smaller

aperture setting allows less light to enter the camera’s sensor, which then results in a darker

image.

If a larger depth of field is needed for the image, more light may need to be available.

pg. 23

Tripod Use The tripod supplied with the IRIS M camera accessory kit is

designed to give the user multiple camera mounting options.

Using the various adjustment screws and configurations, there

is virtually no angle that can’t be achieved.

The most important consideration, next to safety, is camera

stability. Even the slightest bit of camera shake, or vibration,

may render the amplified recording less useful.

Although there are tools embedded into the Motion

Amplification software to help minimize the effects of camera

shake, the best way to get usable recordings is to eliminate

camera shake at the source.

With this in mind, there are a few suggestions that should

always be observed.

Always use the supplied vibration pads – These specially

sourced vibration dampers effectively reduce camera vibration

by 50%. Shock may be reduced by as much as 90%.

Move the camera away from the vibration source – By using a lens with a longer focal length,

often the same image size and resolution can be achieved.

Extend thicker portions of the legs first – Each tripod leg has two extensions. The extension

nearest the bottom has a smaller diameter tube than the one just above it.

If only a single extension is desired, extend the one further up first. Then, if further extension is

desired, use the extension nearest the bottom.

Avoid extending the center rod – This is the absolute last resort when trying to achieve a higher

camera position.

pg. 24

USB 3.0 Cable A special USB 3.0 cable is supplied with the IRIS M

camera.

When connected to the Acquisition Unit, it allows the

camera to be powered, and it carries data from the

camera to the Acquisition Unit.

When connected to the camera, it is imperative that

the screw locks be utilized. This is to prevent possible

damage to the USB 3.0 connection port at the back of the camera.

If a longer cable is needed, contact RDI Technologies customer support and a new cable may be

supplied. However, use of a longer cable may affect data integrity and transfer rates between

the camera and the acquisition unit.

Lighting

Although image brightness can be enhanced

several ways using the RDI Acquisition software,

many situations will require additional light to

be able to adequately view the machine or

structure being analyzed.

For this reason, the IRIS M accessory kit includes

a DC powered LED light that can be used to add

light in a wide variety of situations.

This powerful light delivers 14,000 lux of

continuous light, which is dimmable from 10%

to 100% via onboard controls or the included

wireless remote control.

The light can be powered directly from any AC 110 V power source, or with the included Lithium

Ion battery. The battery life at full light intensity is approximately 23 minutes, so be sure to plan

accordingly when capturing data where no power supply is available.

pg. 25

Section 2

Review 1. What is the maximum framerate of the IRIS M camera?

2. Do the supplied lenses in the IRIS M camera kit have adjustable zoom?

3. When should the supplied vibration pads be used with the camera tripod?

4. When should the screw locks on the USB 3.0 cable be used?

5. Which aperture setting would allow exactly half as much light to enter the camera sensor

as the f/4.0 setting?

6. Which aperture setting would give a wider depth of field?… f/5.6 or f/22?

7. What does FPS stand for?

8. Which focal length would make objects appear larger on the screen: 25mm or 50mm?

pg. 26

pg. 27

Section 3

Introduction to Motion

Explorer

Objectives:

1. Introduce the four MA software applications

2. Build a database hierarchy using Motion Explorer

3. Launch the Acquisition and Motion Amplification

applications directly from Motion Explorer

pg. 28

RDI Software Applications The IRIS M Motion Amplification Acquisition Unit comes preloaded with four software

applications.

These are RDI Acquisition, RDI Motion Amplification, RDI Motion Explorer and RDI Motion Studio.

Each application can be started by double-clicking the application icon on the desktop or with a

single left click on the application icon on the acquisition unit tool bar.

RDI Acquisition is used for the data acquisition. This application will only

work when the camera is connected to the acquisition unit.

RDI Motion Amplification is used to view and edit the recorded data after

acquisition has been completed. To conserve resources, the data acquisition

application automatically closes when the Motion Amplification application

is opened.

RDI Motion Explorer is used to create a database structure to help organize

and store raw data, mp4 videos, and stored images. It is also a convenient

place from which to launch the other two applications.

RDI Motion Studio brings video editing capabilities into the RDI software

suite. Users can build movies from individual Motion Amplified MP4’s as

well as still images. Titles can also be included. This application helps tell a

complete story when evaluating the health of an asset using Motion

Amplification.

pg. 29

Motion Explorer Motion Explorer allows the user to create a hierarchy of folders and assets and

organize links to recordings, exported MP4 videos, and other files under the

appropriate asset.

Assets have one or more associated collections, and these collections are where recordings and

exported MP4 videos reside. When the RDI Acquisition application is used to acquire a recording, it is automatically associated

with the selected collection from the asset hierarchy.

When Motion Amplification is used to create a recording as a result of filtering or stabilization,

the recording is automatically associated with the same collection as the original recording. MP4

videos exported from Motion Amplification are also associated with the same collection as the

source recording.

Getting Started When Motion Explorer is launched for the first time, the hierarchy contains only an item

representing the company and an Unassigned folder.

The company item can be renamed to something appropriate for your organization. Folders and

Assets can also be added to represent the logical organization of your facility or facilities.

Recordings and exported MP4 videos are associated with the assets that are defined here.

Ribbon Bar The Ribbon Bar is context sensitive, so it shows only the functions that can be performed on the

currently selected item.

Ribbon Bar

pg. 30

Adding Items to the Hierarchy

When the Company item is selected, Folders and Assets can be added as

children. When a Folder is selected, Folders and Assets can be added as

children. When an Asset is selected, Collections may be added as children.

Cut/Copy/Paste

Items can be Cut and Pasted to perform move operations. Items can also

be Copied and Pasted to perform copy operations. Recordings, exported

MP4’s, and other file items can’t be copied from within Motion Explorer.

Remove

Any item except the Company can be removed from the hierarchy.

Important: When an item is selected to be removed a dialog will be displayed asking; Would you

like to: A) Remove selected item and its children from the hierarchy, but do not delete associated

files, or B) Remove selected item and its children from the hierarchy and DELETE any associated

files.

Recordings, exported MP4’s, and other files associated with a collection are not actually stored

in the RDI Hierarchy Database. They are stored separately in the Windows File System and a link

to their storage location in the RDI Hierarchy Database. Hence the choice to remove just the link

to the file OR remove the link and delete the associated files. If the files are deleted, they cannot

be recovered.

Rename

Any item can be renamed with the Rename function. When this option is selected, the

selected item in the left or middle pane will be shown in edit mode. Use the keyboard to

rename the item and press enter to commit the change.

pg. 31

Exercise 1 - Create a Hierarchy Step 1 - Open the IRIS M Acquisition Unit and turn on the power.

Step 2 - Launch the Motion Explorer application.

Step 3 - Highlight Company Name in the left pane and rename the company name to your

company’s name.

Step 4 - Add a new folder and name the new folder “Classroom”.

Step 5 – Inside the Classroom folder, add a new asset named “Rotor Kit 1”.

Step 6 – Inside Rotor Kit 1, add a new collection named, “Exercise 1”.

The result should look something like this:

pg. 32

Exercise 2 - Storing a Video in Motion Explorer Step 1 – Connect the USB 3.0 cable to the camera. Make sure to fully seat the screw connectors

into the camera.

Step 2 – Connect the USB 3.0 cable to the Acquisition Unit. A green LED should light up at the

back of the camera. If not, ask for assistance.

Step 3 – Select the 25mm lens from the kit and attach it to the camera. Remove the lens cap and

set the aperture to f/2.8.

Step 4 – Highlight the newly created collection under Rotor Kit 1 and use the New

Recording icon on the Ribbon Bar to launch the RDI Acquisition application.

Step 5 – Launch the RDI Acquisition application by clicking the New Recording icon

in the Ribbon Bar within Motion Explorer. A live image should appear in the

software. If this is not the case, ask for assistance.

Step 6 – Aim the camera lens at the class rotor kit so that the rotor kit can be seen on the

acquisition screen. Focus and adjust the lens aperture as needed.

Step 7 – Use the laser rangefinder to measure the distance to the rotor kit and enter the value in

the distance field under Recording Properties.

Step 8 – Set the Duration Type to Time (Seconds).

Step 9 – Enter 3 for a 3 second acquisition time.

Step 10 - Select “Motion Amplification” for Acquisition Mode and “Other” for Lighting.

Step 11 – Set the Framerate (fps) to 120.

Step 12 - Adjust the Brightness to properly expose the image.

Step 13 – Set the Gain to 0. The screen should look something like this:

pg. 33

Step 14 – Press the Record Button to acquire a recording.

Step 15 – Press the Save Button to save the recording. Congratulations you have just saved your

first recording!

Note: When either the save or delete buttons are clicked, the application automatically resets to

acquire another recording.

Step 16 – Once the recording has finished being saved, exit the RDI Acquisition application.

Step 17 - With Motion Explorer now open, highlight Exercise 1 under Rotor Kit 1 in the tree and

the saved recording should be listed in the center panel of the screen.

Record Button

Delete

Save Button

Play

pg. 34

The recording will automatically be named with the date of the acquisition with a .rdi extension.

Note that this .rdi file can only be opened using the RDI Motion Amplification application.

Step 18 - Highlight the saved recording and a thumbnail preview of the recording appears in the

right pane of the screen, along with the properties associated with the recording. The Focal

Length and Distance can be edited, and Notes can also be added from this screen.

Saved Recording

pg. 35

Section 3

Review

1. Which MA software application allows the user to create a database hierarchy?

2. Can user notes be stored with the Motion Amplification recording?

3. The Motion Amplification raw data is stored as which file type?

4. Are Motion Amplification recordings stored automatically?

5. In Motion Explorer, which button in the Ribbon Bar initiates recording acquisition?

6. If the delete button is pressed after acquisition, is there any way to recover the deleted

recording?

pg. 36

pg. 37

Section 4

RDI Acquisition

Objectives:

1. Learn techniques for proper image focus and lighting.

2. Discuss RDI Acquisition settings and their impact on video

data quality.

3. Discuss how these settings also impact vibration data

quality.

pg. 38

Mini Exercise Step 1 – In Motion Explorer, create a new collection named “Exercise 2”.

Step 2 – Highlight the new collection and launch the RDI Acquisition application by clicking the

New Recording icon on the Ribbon Bar.

Exercise 3 - Focus the lens Step 1 – Use the digital zoom button to zoom closer to the rotor kit.

Digital Zoom Controls

pg. 39

Once the image is zoomed it is easier to

see the focus quality.

Notice that in this example, the words on

the motor tag are unreadable.

Step 2 – Adjust the focus ring on the lens

so that the words on the motor tag are

better defined.

After adjusting the focus ring of the lens,

even the small words are at least

somewhat distinguishable.

Step 3 – Set the zoom back out to the

original setting.

The image is now focused as well

as possible.

These steps: (Digital zoom in,

adjust focus and zoom back out)

should be taken each time prior

to capturing an image.

pg. 40

Exercise 4 - Changing lenses Step 1 – Remove the 25mm lens from the camera and install the 50mm lens.

Step 2 – Set the aperture to f/2.8

Step 3 – Center the object in the image and adjust the focus as in the previous exercise.

Notice the field of view and how much of the image can be seen.

The field of view has decreased by half, but the rotor kit has doubled in size in the image.

Also notice that while using the digital zoom to focus the image, there is better detail in the

zoomed image.

One more thing to note is that the Displacement Resolution has been increased by a factor of 2.

pg. 41

How Focal Length and Distance Affect Displacement Resolution

Distance to Object (D)

Focal Length of Lens (F)

Displacement Resolution (R)

2 m 25mm 0.40 mils (10.0 microns)

2 m 50mm 0.20 mils (5.0 microns)

1 m 50mm 0.10 mils (1.2 microns)

In the image captured with the 25mm lens, the camera was situated about 2 meters from the

rotor kit.

Using the values listed in the table above, the minimum displacement resolution was then about

0.40 mils (10.0 microns).

In the latest image, which was taken with the 50mm lens at the same distance, the minimum

displacement resolution is 0.20 mils (5.0 microns). Which means a smaller amount of movement

would be visible in this latest image than in the image taken previous with the 25mm lens.

Calculating Minimum Displacement Resolution

𝑹 =𝑫

𝑭× 𝟓

𝒎𝒊𝒍𝒔∗𝒎𝒎

𝒎𝒆𝒕𝒆𝒓 -or- 𝑹𝒖 =

𝑫

𝑭× 𝟏𝟐𝟓

𝒎𝒊𝒄𝒓𝒐𝒏𝒔∗𝒎𝒎

𝒎𝒆𝒕𝒆𝒓

Where:

R = Minimum Displacement Resolution (mils)

Rµ = Minimum Displacement Resolution (microns)

D = Distance from the lens to the object (meters)

F = Focal Length of Lens (mm)

Note: 5 𝑚𝑖𝑙𝑠∗𝑚𝑚

𝑚𝑒𝑡𝑒𝑟 and 125

𝑚𝑖𝑐𝑟𝑜𝑛𝑠∗𝑚𝑚

𝑚𝑒𝑡𝑒𝑟 are empirical based conversion factors.

pg. 42

Data Acquisition

Before making the acquisition

settings, review the acquisition

options by clicking the Gear

Wheel button at the upper right

corner of the screen.

These are the default settings.

Settings are for Storage Location,

Default Recording Name, Line

Frequency, Units, and Disk Space

Warning Value.

The Line Frequency (50 or 60 Hz) is used

to set the framerate when Motion

Amplification mode is set to Indoor.

The units (Hz or CPM) apply to vibration

data.

Make any desired changes here and then click OK to return to the Data Acquisition screen.

Application Settings

pg. 43

Recording Properties

Recording properties are entered at

the upper left corner of the Data

Acquisition screen.

These fields can be edited as

desired.

Name – Sets the filename of the

recording. In the event a file with

the same name already exists the

software will append an auto

advance number at the end of the

filename.

For example, if a recording with the

filename “motor.rdi” exists the software will name the next file “motor_01.rdi”.

Distance – Stores the distance from the lens to the object in the recording for retrieval later.

This value is extremely important, as the vibration amplitude accuracy is directly related to this

recorded distance.

A 5% error in this distance value will result in a 5% error in vibration amplitude accuracy.

Focal Length (mm) - Stores the focal length of the lens in the recording for retrieval later.

Duration Type – Determines whether the duration of the recording is specified in terms of the

number of frames or total time in seconds.

Number of Images – If the duration type is set to “Number of Frames” this option will be visible.

The entered value specifies the length of the recording in terms of the number of images to

collect. For example, 240 images recorded at 120 fps will give a 2 second recording.

Duration – If the duration type is set to “Time(sec)” this option will be visible.

The entered value specifies the length of the recording in terms of the number of seconds to

collect data at the specified framerate.

The number of frames that will be collected based on the specified time appears in the

“Calculated Values” section.

pg. 44

Add Notes – Clicking the Add Notes buttons opens a separate window where notes can be

entered. The entered notes then become a permanent part of the data and can be viewed in the

Motion Explorer application anytime the particular recording is highlighted.

Recording Association

Collection – Specifies the name of the

collection the recording will be

associated with.

A Collection can be chosen, and a new

collection can be created with the

acquisition software under the

Collection Selection Window by

pressing the “Change” button.

By associating a recording with a collection and asset in the acquisition software, that recording

is automatically associated similarly in Motion Explorer on the same computer.

Asset – Determines the asset under which the recording will be associated. Assets cannot be

created in the acquisition software

Note: Because the collection, (Exercise 2), under Asset, (Rotor Kit 1), was highlighted in Motion

Explorer when the RDI Acquisition application was launched, the Recording Association values

have automatically been set.

Camera Properties Acquisition Mode – Determines

whether priority is given to

displacement by applying

oversampling to reduce aliasing or

Motion Amplification without the

oversampling.

Possible values are Displacement or

Motion Amplification.

In Displacement Mode, the frame rate

is set higher than the requested Fmax to allow for an oversampling antialiasing mode.

In Motion Amplification, the frame rate is not set higher and no oversampling is applied.

pg. 45

Note that when Motion Amplification mode is selected, the maximum framerate (fps) is 125.

Next, change the acquisition Mode from Motion Amplification to Displacement.

Now, there is no longer a field for

Framerate.

The Framerate field has been

replaced by Fmax (Hz).

Also, the value has changed.

Instead of 125 Hz as in the MA

mode, the value is 31 Hz, or

approximately ¼ the Framerate

setting.

This is because the method used to

prevent aliasing in the vibration

data involves 2x oversampling

which results in sampling at a rate of 4x the highest frequency of interest.

In Displacement mode the user enters the highest frequency of interest (Fmax), and the software

automatically makes the appropriate settings needed to capture raw data that will allow a

vibration spectrum to be acquired up to the requested Fmax without the possibility of aliasing.

Aliasing Aliasing is the appearance of “ghost” peaks in the vibration spectrum caused by digitally sampling

an analog signal too slowly.

Traditional vibration analyzers avoid aliasing through the use of an analog low pass (anti-aliasing)

filter. The filtered signal is then digitally sampled at a rate of 2.56x the Fmax.

With Motion Amplification, an analog filter is impossible because the data used to generate the

vibration waveform is already digital. Therefore, Anti-aliasing is accomplished through a different

process.

With Motion Amplification, in Displacement mode, the raw recorded data is sampled 4x faster

than the highest frequency of interest (Fmax). Then, any frequency values between 2x and 4x

Fmax are rejected. FFT is then performed on the remaining data and the result is a spectrum free

from any of aliasing up to a much higher frequency where displacements are severely attenuated.

So, by setting the “Acquisition Mode” to Displacement you are providing protection against

aliasing in the vibration data.

pg. 46

Spectral Resolution

Motion Amplification allows the user to

generate vibration waveforms, spectra, and

orbits from virtually any part of the

amplified recording.

The characteristics and quality of the

vibration data are largely dependent upon

the recording acquisition settings. The most

important of these are Framerate and

Duration of the recording, T.

When the Displacement Acquisition mode

is used, the Fmax is directly set by the user,

in which case the only concern may be spectral resolution.

The setting that determines spectral resolution is the total Duration of the recording, T. The

spectral bin and minimum frequency in the spectrum will be equal to 1/T .

In this example the Number of Frames was selected as the “Duration Type” and was set to 360.

Any spectrum generated from this data will therefore contain exactly 180 Lines of Resolution.

For a 120 fps recording this will result in a 3 second acquisition so the frequency resolution and

minimum frequency in the spectrum will be 1/3 Hz.

Calculation for Spectral Resolution or Bin Width (in Hz)

𝑹 = 1/T

Where: R = Resolution (in Hz)

T = Total Recording Time (in seconds)

Calculation for Number of Lines (or Bins) of Resolution 𝑳 = F/2

Where: L = Number of Lines (or Bins) of Resolution

F = Total Number of Frames

pg. 47

When Time (Seconds) is selected as the

“Duration Type” in the Recording

Properties, the Number of Frames will be

calculated using the number of seconds

entered for the Duration multiplied by the

Framerate (fps).

This value can be found at the bottom of

the left side of the screen under

Calculated Values.

In this example, the duration has been set

to 3 seconds and the framerate to 120 fps.

The resulting recording capture is then

360 total frames, which will render a

spectrum with 180 Lines of Resolution.

Again, the frequency resolution and

minimum frequency in the spectrum will

be 1/3 Hz.

Framerate vs Fmax

pg. 48

When in Motion Amplification mode, the Fmax (maximum frequency) of the vibration spectrum

is determined solely by the Framerate.

The Fmax of any spectrum derived from the Motion Amplified recording will be exactly half the

framerate. So, if the framerate is 120 fps, the Fmax of any spectrum generated from that

recording would be 60 Hz.

But a spectrum with an Fmax of 60 Hz would not be able to properly resolve a peak at exactly 60

Hz, so it is highly recommended that the minimum Framerate be set to 2.5x the highest vibration

frequency of interest.

Take for example a motor-pump combination that has a turning speed of approximately 1800

RPM (30 Hz). Vibration due to offset misalignment would occur at 2x turning speed, which would

be approximately 3600 CPM, or 60 Hz. 60 Hz is then the highest frequency of interest. Therefore,

the frame rate in this example should be set no lower than 150 frames per second (fps).

It should also be understood that because 2x oversampling does not occur when using the Motion

Amplification acquisition mode, peaks could appear in the higher frequency range of the

spectrum as a result of Aliasing.

Traditional Vibration Analysis -Compared to-

Motion Amplification

pg. 49

Lighting Modes There are two selectable modes for lighting: Other and AC Indoor.

When Other is selected, the user can set the frame rate to any value.

But when AC Indoor is selected, the

available framerate settings are

limited to 120 fps or 60 fps. (For

international it is 100 fps or 50 fps.)

This is because if the framerate

indoors is out of sync with the

pulsation frequency of the lighting,

noticeable light “flicker” will often

affect the video quality.

pg. 50

Lighting at 60 or 50 Hz In the U.S. and most of North America, the

frequency of the alternating current is 60 Hz.

Which means that the voltage changes from

positive to negative 60 times per second.

On the way from the positive voltage peak to

the negative voltage peak, the amount of

voltage decreases.

During this time, the light intensity is less than

when the voltage is near either the positive of

negative peak.

This results in a constantly changing light

intensity or flicker, with a frequency of 120 Hz.

This flicker is typically not perceptible to the human eye because it occurs so fast and the actual

change in intensity is not very much.

But with Motion Amplification, the amount of

change is amplified, along with everything else

in the recording.

So, it is common to see flicker in the Motion

Amplified recording even though it is not

apparent in the raw recording.

This can occur any time the framerate of the

data acquisition is out of sync with the

pulsation rate of the indoor lighting.

When AC Indoor is selected in the Camera

Properties screen, the Framerate selections are

limited in such a way that the framerate will

always be in sync with the frequency of the

lighting flicker.

Thus, when selecting “AC Indoor” for the Lighting

setting in camera properties there is much less

chance that flicker will be apparent, even in the

amplified recording.

pg. 51

Framerate (fps) – Determines the number of images to be collected in one second. Equivalent

to a vibration analyzer’s sample rate. The maximum framerate of the camera is 1300 fps.

Fmax – Determines the maximum frequency available in the spectrum for frequency

measurements. This option also replaces and sets the framerate while in Displacement mode to

the necessary framerate to achieve the desired Fmax.

Brightness (%) – Adjusts the brightness of the image by changing the exposure time of the image.

The larger the brightness level the longer the exposure time. This value is scaled from 0 to 100

percent.

Relationship between Framerate and Brightness

In the example above, the Framerate and Brightness are both set to their maximum settings.

Take particular note of the level of light that appears in the image.

Next, move the Brightness slider to the left until it is at 50%.

pg. 52

Note the diminished level of light that now appears in the image. By decreasing the brightness,

the exposure time for each frame has been decreased, which results in a darker image.

Next, move the Framerate slider to 62 fps.

Now, the image retains the same level of noticeable brightness, but the Brightness (%) has

automatically decreased to 25. This is because at the lower framerate, (which is about ½ the

original framerate setting), the exposure time available for each frame is now double.

Now, move the Brightness (%) slider to the right, all the way to 100%.

The image now appears even brighter than the original image. The framerate (62 fps) is

approximately half the original framerate (125 fps). Which means that the maximum exposure

time available is 2x longer than before. 2x more exposure time for each image results in a

brighter looking image.

pg. 53

Gain – Adjusts the sensitivity of the camera’s sensor. By increasing the gain, the image will be

brighter, but more noise will be introduced, and this decreases the quality of the measurement.

Sometimes this is necessary when the image is too dark.

Only add gain after all other methods of brightening the images have been used.

Image Rotation – Rotates the image in the Image Viewer Window. The image is permanently

rotated and appears the same when opened in Motion Amplification. The image can be rotated

90° Clockwise, 180°, and 90° Counter Clockwise.

Cropping the Image The camera’s maximum framerate was listed earlier as 1300 fps. Yet the framerate slider in the

Camera Properties field currently has a maximum value of only 125 fps.

Part of the reason for this difference has to do with the necessary exposure time for each frame

and the required level of brightness for the image. However, brightness isn’t the only factor that

limits acquisition framerate.

The data also needs to travel from the camera, through the USB 3.0 cable, to the acquisition

system. The USB 3.0 cable can only accommodate a limited amount of data flow.

The camera’s sensor has over 2 million pixels, and data from each pixel needs to be read and

transferred for each image. At the current setting, the maximum data transfer rate has been

reached at 125 fps.

To get around this limitation, the acquisition application allows the user to crop the image. When

the image is cropped, only the pixels in the cropped area of the sensor are used, thus making

faster framerates possible.

To crop the image, left click

and hold the mouse button

down while moving the

cursor.

A crop window will be

drawn in red, increasing in

size with the movement of

the cursor.

Release the mouse button

when the desired crop size

has been reached.

pg. 54

Note that with the newly-cropped image, the maximum available framerate is 200 fps. However,

this higher framerate comes at a cost.

Not only is the image smaller, it is also darker, even though the brightness setting is still 100%.

Once again, the increased framerate leaves less exposure time for each image, resulting in a

darker image.

The lesson here is that if a higher framerate is desired, (usually in order to get a higher spectrum

Fmax), the object in question should be framed as to allow for image cropping while still allowing

the entire object to remain in the frame.

Also, if the object is indoors, plan on supplying additional lighting, as the cropped image will be

darker than the uncropped image.

pg. 55

Exercise 5 - Cropping the Image Step 1 - Starting with a full, uncropped image, crop the width of the image to 50% of its original

size by editing the Width value in the Image Properties to half its original value (from 1920 to

960). This has the effect of cropping the image to exactly 50% of its original width without

affecting the height.

Step 2 – Move the Framerate (fps) slider all the way to the right and note the maximum

framerate.

In the example here the image width has been decreased from 1920 pixels to 960. The maximum

available framerate is 144 fps.

Step 3 – Return the image to its original size by changing the Width back to 1920 pixels.

Step 4 – Now edit the value in the Height field under Image Properties to half its original value.

pg. 56

Step 5 – Move the Framerate slider all the way to the right. Note the maximum framerate is now

250 fps, which is higher than the maximum framerate when the width of the image was cropped.

In the example here the highest available framerate of the height cropped image is 250 fps,

compared to 144 fps for the width cropped image.

The key point here is cropping the height provides considerably higher available framerates

(which in turn provides higher Fmax) compared to cropping the width.

Image Properties / Calculated Values Width - Adjusts the width of the image in pixels.

Height - Adjusts the height of the image in pixels.

Left – Offset of the image from the left if the image

is less than full width.

Top – Offset of the image from the top if the image

is less than full height.

Acquisition Time (s) – Total time of the acquisition

based on the current frame rate and number of

images. Displayed if the Duration Type is set to

“Number of Frames”.

Number of Frames –Number of images that will be collected based on the specified duration and

frame rate. Displayed if the Duration Type is set to “Time”.

Recording Size (GB) – Total size of the recording based on the number of images.

Available Disk Space (GB) -Available space on the disk drive selected to store recordings.

Lighting

pg. 57

Proper lighting is essential for Motion Amplification. It makes the recording easier to see and

analyze and gives it a more professional quality. Remember, in Motion Amplification the video

is the report. So, it is wise to pay particular attention to the image lighting.

To aid in proper lighting,

the pointer in the RDI

acquisition application

lists the percentage of

saturation of any pixel

upon which it lands.

Notice in the image here,

the portion of the rotor kit

that is being referenced is

100% saturated. This

means that this pixel in

the camera’s sensor is

completely full of light

photons and can hold no more.

This also means that if a pixel is listed at 100% it is impossible to know exactly how much light is

actually coming into this pixel compared to other pixels in the image.

For example, a pixel in the same image with a listed saturation of 50% can’t be assumed to be

getting exactly ½ the light as the pixel listed at 100%, because once the saturation point reaches

100% there is no way to know how much over 100% it is. There might actually be 200% of light

hitting this pixel.

So, any time the saturation value hits 100%, the amount of actual saturation is unknown. Also,

when it comes to Motion Amplification, any pixels that are 100% saturated will not get amplified

and cannot provide an accurate time waveform.

Depending on the lighting characteristics of the machine or structure being filmed, it may be

impossible to avoid completely saturated areas of the image. Reflective surfaces are especially

prone to oversaturation.

It such cases, it may be helpful to paint the reflective surface with a flat paint or avoid lighting

the surface directly. It is not necessarily bad to have oversaturated areas within the image just

so long as the oversaturated portions of the image are not areas of interest.

pg. 58

Section 4

Review 1. What should be done prior to focusing the lens to get a better-focused image?

2. What would be the minimum displacement resolution if the camera is located 5 meters

from the machine using a 25mm lens?

3. In camera properties, the Framerate (fps) maximum value is 125, but you want to record

with a framerate of 250 fps. How can this be accomplished?

4. What can be done to reduce lighting flicker when filming indoors?

5. What advantage does the Displacement Acquisition mode offer?

6. What is more effective for achieving a higher framerate, cropping the width or height of

an image?

7. Can digital zoom be used to increase framerate?

8. What does increasing the Gain do to the image?

9. What happens to the exposure time for each frame when the brightness setting is

decreased?

pg. 59

Section 5

RDI Motion Amplification

Objectives:

1. Identify and discuss Motion Amplification tools

2. Generate vibration data from Motion Amplification data

3. Complete classroom exercises to practice Motion

Amplification skills

pg. 60

Launching RDI Motion Amplification The Motion Amplification software is used to amplify, analyze, and create mp4 recordings of the

captured .RDI recorded files. It can be launched a few different ways:

1. By clicking the Motion Amplification shortcut on the desktop

2. By clicking the Motion Amplification button

in the Acquisition software after acquiring a

recording.

3. From Motion

Explorer, by either double-

clicking any .rdi recording,

or highlighting the

recording and clicking the

Motion Amplification

button in the Ribbon Bar.

pg. 61

Exercise 6 - Launch Motion Amplification Step 1 - Launch Motion Explorer.

Step 2 - Highlight the stored .rdi file from the RDI Data Acquisition Exercise in Section 3 of this

manual and launch Motion Amplification.

The Motion Amplification screen opens showing the recording captured in exercise 1. The

recording file is identified at the upper left corner of the screen as the Source File.

Basic Playback

At the bottom of the screen are the Play Amplified Recording and Loop Playback controls. Also,

the progress bar allows the user to see the recording playback progress, and to go directly to a

desired location in the recording.

Source File

Play Loop Progress Bar

Export Video

pg. 62

Amplification/Playback Speed Sliders There are two sliders at the right side of the screen.

You can either control the slider position by left clicking or dragging the slider

to the desired position or “Specify a Value” numerically for amplification or

playback speed by right clicking on either slider.

The top slider is used to set the amount of amplification, from “0” to 50X.

Note the position of the amplification slider will default to the last value you

set.

Before any amplification can be seen in the recording playback, this slider

needs to be raised above “0”.

It is recommended to begin with the amplification slider near its top position,

and then decrease the amount of amplification if the movement seems

excessive.

The bottom slider used to set the playback speed.

The small horizontal line near the top of the slider indicates original capture

rate. When the slider is set here, the recording playback will match the original

recording capture rate.

When the slider is set below this line, the playback rate is slower than the

capture rate. When the slider is set above this line, the playback rate is faster

than the capture rate.

It is a good idea to view the Motion Amplification recording at a few different playback speeds

to determine which playback speed best illustrates the motion. It is recommended to start near

or at the bottom of the bar (slowest playback) and work up to find a suitable playback speed. The

software defaults to starting at 10% the original capture rate.

Amplification Amount Slider

Playback Speed Slider

Original Capture Rate

pg. 63

Exercise 7 - Basic Motion Amplification Step 1 – Click the Loop button to enable the loop function for recording playback.

Step 2 – Without adjusting the Amplification or Playback Speed sliders, click the Play button to

view the Unamplified recording.

Step 3 – Drag the Amplification slider up to its highest setting (50x amplification).

Step 4 – Adjust the Playback Speed slider and observe the motion at different speeds. Start from

the bottom of the bar and work upwards.

Why is the recording so grainy? All digital images contain an inherent amount of digital noise.

This noise is a result of the camera’s electronic sensor (The Iris M uses a CMOS sensor) not being

absolutely perfect in the way that it measures the amount of light in each pixel.

It is typically more noticeable in low light conditions, where the ratio of the amount of light to

the amount of noise is lower. But there are other things that can cause the noise to be more

noticeable.

The first is the gain setting in the camera itself. As previously discussed, when gain is used, the

image gets brighter for a given amount of light. This, unfortunately, also increases the amount of

noise in the image.

Motion Amplification also increases or amplifies the amount of noise in the image. When Motion

Amplification is applied to the recording, it causes the movement of the objects in the image to

be amplified, which means they move more in the amplified recording than they were moving in

the original recording.

pg. 64

Exercise 8 - Basic Video Export Once the settings for amplification and playback speed have been adjusted to desired levels, the

recording can be exported in .mp4 format. This is an important step because the original .rdi

data files are not viewable outside of the Motion Amplification software application. The .mp4

video file often serves as the most important file used for reporting purposes.

Step 1 – Click the Export Video button at the lower right corner of the Motion Amplification

screen.

Note: An “Export Content and Layout” pop up

window will appear.

This is where you can choose or create a file name,

select video content, configure video layout, define

plot data to include as well as company logo and

export descriptions.

Step 2 – In the “Video Content” box select Include

Only Amplified Video and click “OK”.

Note: During the video export, a progress

window will appear on the screen.

The time needed for video export will vary based

on the number of frames and image size.

pg. 65

When the video export is complete, a window appears with the assigned file name appearing

just below the words, “Video export complete”. Below that, the user is prompted to select one

of three options.

“Play Exported Video”- Opens the .mp4 video

file using the user’s selected mp4 playback

application. The .mp4 file is also automatically

stored.

“Open File Location” - Stores the .mp4 file, but

also opens the Windows Explorer application

to the location of the file on the Acquisition

Unit hard drive.

“None” - Simply stores the .mp4 file without

any additional action.

Step 3 - Select “Play Exported Video” in the Video Export Complete window and click “OK”.

Step 4 – Allow the mp4 video to play. If the video playback is satisfactory, close the mp4 playback

window and proceed to step 4.

Note: In some instances, the mp4 playback speed will not be the same as the playback speed in

Motion Amplification. This is because the conversion of the raw .rdi file to the .mp4 file requires

at least some degree of data compression in order to reduce the .mp4 file size. The method of

data compression varies between different mp4 video players, so it is impossible to predict what

the final mp4 video playback will look like. If the playback speed does not represent the motion

as desired, close the window, change the playback speed in Motion Amplification, and perform

steps one through three again.

Step 5 – Close Motion Explorer and verify that the stored mp4 video appears

File Name

Stored mp4 video

pg. 66

Exercise 9 - Advanced Video Export

Create Original/Amplified Side-By-Side Video To help viewers visualize how much the raw recording is being amplified, an option exists in

Motion Amplification which allows for the creation of an .mp4 video that shows both the

unamplified and amplified videos being played side by side. Step 1 – Make sure the amplification slider is all the way up Click the Export Video button at the

lower right corner of the Motion Amplification screen.

Step 2 – In the “Video Content” box of the “Export Content and Layout” window select Include

original and Amplified Video.

Step 3 – Click the selection arrow for “Video

Layout” and select Horizontal. Then click the

OK button, which will initiate exporting the

video.

Step 4 – When the Video Export Complete

window appears, select Play Exported Video.

A split screen will be displayed show both the

unamplified and amplified videos playing simultaneously.

pg. 67

Step 6 – Exit the mp4 player window, and also exit the Motion Amplification window.

The new mp4 file is now listed in Motion Explorer in the Exercise 1 collection.

2nd Stored mp4

pg. 68

Exercise 10 - Advanced Video Export

Modify Video Playback Motion Explorer allows the user to edit the length of the exported video.

This is helpful when only a portion of the video is useful, or when the size of the exported file is

too large to easily distribute and share.

Motion Explorer also allows the user to start and stop the amplified portion of the video. Both

controls are demonstrated in the following exercise.

Step 1 – In Motion Explorer, highlight the .rdi file and launch Motion Amplification.

Step 2 – Slide the amplification slider to its highest setting.

Step 3 – Drag the slider in the Playback Bar at the bottom of the screen to right about two thirds

of the way to the end of the playback.

Step 4 – Right Click on the slider and select Set Export

End. The green flag signifying the end of the export

should now appear here.

Step 5 – Drag the slider in the Playback Bar to the left about halfway back to the beginning of the

playback bar.

Step 6 - Right Click on the slider and select Set

Amplification Start. The blue flag signifying the start of

the amplification will now move to this position.

Drag

Drag

pg. 69

A window opens warning that

reamplification of the video will

need to occur before the changes

will take effect. Click “OK”.

Step 7 – Right Click the progress bar slider and

select Reamplify Recording.

The Playback Bar should now look something like this:

Step 8 – Click the Export button. When the “Export Content and Layout” window pops up select

Include Only Amplified Video in the “Video Content” box, and then click “OK”.

Step 9 – In the “Video Export Complete” pop up window, select Play Exported Video, and then

click “OK”.

Step 10 – View exported video. When finished, close the mp4 player and exit Motion

Amplification. Note the changes in the new video and notice how what you see matches the

settings above in the playback bar.

Amplification Start Amplification End

Export Start Export End

pg. 70

Recording Editing Tools The Motion Amplification software includes many tools to help refine and improve both the

visual quality, and functionality of the raw recording.

In many instances, raw data that is acquired in the field under less than optimal conditions, can

be manipulated later using Motion Amplification to render recording data that is even more

useful and compelling.

Exercise 11 - Threshold Mapping Step 1 – In Motion Explorer, highlight the .rdi file and launch Motion Amplification.

Step 2 – Click the Adjust Threshold Mapping button in the Motion Amplification Toolbar.

The Threshold Editor

opens in a new window.

There are two setting

that can be adjusted

here.

The sliders at the bottom

of the histogram can be

moved so that unused, or

little used portions of the

light intensities are

ignored.

This adjustment can

greatly increase contrast,

and thus enhance the user’s ability to see detail in the more shaded areas of the recorded image.

The slider at the right side of the screen that allows the user to adjust the brightness of the

Motion Amplified recording.

Adjust Threshold Mapping

Sliders

pg. 71

Step 3 – Reposition the

sliders in the histogram to

positions that are just

below and just above the

portions of the graph with

the highest intensities.

Step 4 – Click the OK button and view the image on the screen. Pay close attention to the more

shaded areas. You should now be able to see more detail in these darker areas.

Note: Adjustments made to the Threshold Mapping do not permanently change the original .rdi

file to which they are applied. Once the file is closed, any changes made to the Threshold Mapping

revert to normal.

If the video is exported while the adjustment is in effect, the adjustment will be visible in the

exported mp4 file.

Sliders

pg. 72

Exercise 12 - Applying an Amplification Region The Amplification Editor allows the user to apply Motion Amplification to selected portions of

the recorded image, while at the same time excluding amplification of other areas of the image.

This is useful in situations where the recording contains components such as hand rails, piping,

or electrical conduit, which really have nothing to do with the structural characteristics of the

asset being studied.

If the user feels that the amplified movement of these components detracts from the usability

of the recording, they can be “de-amplified”, while the remainder of the image remains

amplified. Or, the user may choose to amplify only one component in the image, thereby

focusing more attention on that single component.

Step 1 – Click the Amplification Region button in the Motion Amplification Toolbar.

Step 2 – In the “Amplification

Region Editor” window, click

the “Default Amplification

Behavior” box and select

Amplify All.

This shades the entire recorded

image green, letting the user

know that everything in the

image is amplified.

Step 3 – Select the polygon just to the right side of the words, “Select Shape to Not Amplify”.

Amplification Region

pg. 73

Step 4 – Using your mouse, left click

to begin drawing your polygon

when you move the mouse. Left

clicking again will end that line and

begin a new one.

Continue this process until you have

the desired shape, which will be

shaded in red. Double left click of

the mouse will end the drawing

process for this shape.

You may now reposition the shape

as desired by holding left click down

on mouse in the shape and dragging

it and dropping it.

You may also adjust the size and form of the shape by holding left click down on mouse on the

small circles at its corners and dragging it and dropping it.

Step 5 – Click the Finished button in the “Amplification Region Editor”, and then play the

amplified recording.

Step 6 – In the “Export Description” field at the top of the screen type: Amplification Region

Edited, and then export the video.

Note: While adjustments made with the Amplification Editor do not permanently change the

original .rdi file, the adjustment will remain in effect as long as the asset remains in the Motion

Explorer database.

Even after the file is closed, any changes made with the Amplification Region Editor will continue

to be in effect the next time the file is opened in Motion Amplification. Also, when the video is

exported, the adjustment will be visible in the exported mp4 file.

Step 7 – In Motion Amplification, open the Amplification Region Editor and click, “Delete All”, to

remove the excluded region of the recording, and then click “Finished”.

pg. 74

Applying a Grid and Image Annotation A grid can be superimposed over the recorded image to provide a non-moving reference, from

which the motion of the machine or structure may be more easily discernable. It is enabled by

clicking the Show/Hide Grid button on the Motion Amplification toolbar. Its color and size can be

adjusted in the Application Settings.

Basic annotations can be added to the recording by using the Annotation

Editor. The Annotation Editor is opened by clicking the Annotations button

in the Motion Amplification Toolbar.

The type of annotation is determined by the selection made in the pop-up

window.

If text is selected, an “Annotation Properties” field appear where the

desired text can be entered, and color and

font can be chosen.

If a line or shape is selected, simply

click and hold the left mouse button

and draw the line or shape on the

image. Release left mouse button

after completing.

Once the left mouse button is released “Annotation Properties” field appear where the desired

text can be entered, and color and font can be chosen.

Show/Hide Grid Annotations

pg. 75

If an image or plot is

selected, simply click and

hold the left mouse

button and draw a box on

the image. Release left

mouse button after

completing.

Once the left mouse button is released “Annotation Properties” field appear where the desired

image or plot can be selected as well as other display properties.

The annotation may be moved to any location on the image by clicking the annotation with the

left mouse button and then holding down the button while moving the mouse to drag it to a

new position.

Annotations can be resized by selecting one of the white “handles” at the edge of the

annotation when you left click on or inside the annotation. Selecting with a left mouse click and

holding down the left mouse button while moving the mouse will result in a resize of the

annotation.

Annotation Properties can be edited by left clicking on or inside a shape.

Deleting an annotation can be accomplished by right clicking on the line or shape and selecting

delete annotation. Deleting can also be done by selecting the annotation editor.

pg. 76

Exercise 13 - Annotation Step 1 – Place a red arrow in the recorded image of the class rotor kit and make it point at the

base of the machine.

Step 2 – Create a text annotation with the words, “Unsecured Base”, and position the text

annotation in line with the arrow.

Step 3 – Overlay the image with a yellow grid with a grid size of 200 pixels.

Step 4 – Amplify the recording to 50x, export the video, and then play the exported video.

Step 5 – Close the mp4 player, close Motion Amplification, and rename the stored video file in

Motion Explorer, “Annotated with grid.mp4”.

pg. 77

Vibration Measurement Vibration measurements can be made directly from the recorded files in Motion Amplification.

To do this, a Region of Interest (ROI) must be drawn on the image at the location where the

measurement is desired.

To draw an ROI for which displacement measurements are to be made, Left Click and hold the

left mouse button while dragging the mouse over the region to be measured. When the ROI

reaches the desired size, release the left mouse button. From this ROI, the software then makes

the displacement measurement.

The number of ROI’s you may draw on an image is unlimited.

Note: The software can look at any location within the ROI to measure displacement. This is done

to ensure the software is given adequate signal to make a quality measurement. It is important

to only draw an ROI over an area in which it would be suitable to make a measurement anywhere

within the ROI.

It is important to understand the basics of drawing an ROI to return accurate vibration data. If an

ROI is drawn incorrectly, the resulting vibration data could be inaccurate and misleading.

Therefore, the following rules should be adhered to whenever an ROI is created.

ROI Rule # 1 – Keep it small

Small ROI’s are almost always more accurate than larger ROI’s. The larger the ROI is, the larger

the chance that some unintended or undesired portion of the image will be used as the source

of the vibration measurement.

pg. 78

ROI Rule #2 – Capture Contrast

It is important that contrast be present within the ROI. The software needs contrast in order to

“see” the vibration. An ROI drawn in an area with no, or too little contrast will fail to generate

any vibration data at all.

The Iris M accessory kit includes contrast stickers and magnets which can be applied to surfaces

of equipment that is lacking contrast. Another option would be to use a marker or paint pen with

a contrasting color to mark the desired surface.

ROI Rule #3 – Do Not Include Multiple Components

When more than one component is included in a single ROI, there is simply no way to determine

which component is being used by the software to generate the vibration data.

Often, an edge of a component is used for the ROI because there is contrast at the edge. This is

acceptable only if the background behind the selected edge has no contrast.

pg. 79

ROI Rule #4 – Do not capture Rotating Components

The software is not capable of measuring the displacement of rotating components.

Any vibration data that is generated from an ROI that captures any part of a rotating element is

invalid and should be ignored completely.

Waveforms, Spectra, and Orbits Once an ROI is drawn on the image in Motion Amplification, the software automatically generates

a vibration waveform for both the X and Y axes of the image.

By default, the waveforms

will graph vibration

amplitude versus time.

The amplitude scale will

be displacement in either

units of Mils (thousandths

of an inch), or Microns.

The time scale will be

seconds. The time length

of each waveform will be

exactly equal to the time

length of the recording.

pg. 80

At the same time the waveform is generated, the software uses the values in each waveform to

generate a vibration spectrum.

Each spectrum plots

vibration amplitude

versus frequency. The

amplitude scale will be

displacement in Mils or

Microns, and the

frequency scale will be

either Hz (cycles per

second), or CPM (cycles

per minute).

If Motion Amplification

mode was used to

capture the recording,

the maximum frequency

(Fmax) plotted in the

spectrum will be equal to exactly half the framerate.

If Displacement Mode was used, then the Fmax will match the Fmax setting used to capture the

recording.

pg. 81

An X-Y orbit is also available, although it does not get generated automatically each time an ROI

is drawn, as is the case with the waveforms and spectra. To generate an orbit, click the Orbit

button after drawing an ROI.

The orbit is plotted as the vibration amplitude of the X-axis

waveform versus the vibration amplitude of the Y-axis

waveform.

In most applications of vibration analysis, a filtered orbit is

preferred, so it may be best to filter the data before an orbit

is generated. (See frequency-based filtering later in this

section.)

Exercise 14 - Vibration Plotting Step 1 – Draw an ROI on the image in Motion Amplification. This will result in a waveform and

spectrum window to appear on the screen.

Step 2 – Left click inside the X-axis spectrum to activate the cursor. Use the arrow keys on the

keyboard to position the cursor at the center of the dominant peak. When activated, the

frequency and amplitude of the cursor’s position are listed in

the lower right corner of the plot.

Step 3 – Right click inside the spectrum and select “Setup

Options” in the drop-down menu.

Orbit

Cursor Position

pg. 82

Step 4 - Under “General Plot Options”, select

Velocity for the Spectrum Amplitude Units. Also,

check the “Automatically Locate Spectrum

Peaks” box.

Note: Only Displacement and Velocity are

options for “Amplitude Units”, Acceleration in G’s

is not an option.

Often, the true center of a peak is not plotted

because of limited spectral resolution. Checking

this box enables a function that automatically

estimates the true center of a peak’s location.

Step 5 – Click the OK button.

Note that now the cursor’s position when it is moved to the center of the dominant peak is listed

as a slightly different frequency value than before the Automatic Locate feature was enabled.

This Peak Locate feature can also be applied manually by right-clicking in the plot and selecting

“Locate Peak” from the drop-down menu. Also note that the amplitude values are now

expressed in Pk Vel (In/sec) instead of Pk-Pk Disp (mils).

pg. 83

Step 6 – Click the Application Settings button at the upper right corner of the Motion

Amplification screen.

Step 7 – At the bottom of the

Application Settings window,

select CPM for Frequency

Units and then click the “OK”

button to close the window.

Step 8 – Close the Spectrum Plots window and then immediately reopen it by clicking the

Spectrum button in the Motion Amplification Toolbar.

The frequency values are now listed as CPM instead of Hz.

Step 9 – Right click in the spectrum and select Save

Image > Current Plot.

Open Spectrum

pg. 84

Step 10 – Name the saved file with the current

date followed by “Motor Inboard” and click “OK”.

Step 11 – Open the

Motion Explorer

window.

The spectrum has

been stored, along

with a still image of

the video, as a .png

file and listed in the

database tree under

this asset.

Applying Multiple Distance Measurements As discussed earlier in this manual, the vibration amplitude accuracy depends greatly on the

distance measurement entered into the camera properties screen.

If this distance measurement is off by 10%, the amplitude accuracy of any vibration data

generated from that image will also be off by 10%. So, it is important that the distance

measurement be as accurate as possible.

In many instances, especially when capturing recordings of large structures and machines, the

distances will vary significantly across different parts of the image. To address this issue, the user

can load different distance measurements for different locations in the image.

pg. 85

Exercise 15 - Multiple Distance Locations Step 1 – In Motion Explorer, highlight the .rdi file of the rotor kit and launch Motion Amplification.

Step 2 – Click the Locations button in the Motion Amplification toolbar.

Step 3 – In the Define Locations

window, click the Add button.

Step 4 – Left click anywhere in the

image, which will place a red

thumbtack where you click.

Step 5 – Measure the distance to

another location on the rotor kit and

enter that distance into the second

distance field in the Define

Locations window.

Also, enter the location name.

Add

Locations

pg. 86

Step 6 – Drag the red thumbtack to the measured position and drop it there.

Step 7 – Click the “Active” bubble to make the new location active and click “Finished”.

Step 8 – Draw an ROI on the image at the newly

measured location.

When the Performing Calculations window

opens, note that the new distance is now being

used to calculate the vibration displacement

values.

Important! When multiple locations are defined in an .rdi file, it is important to first click the

distance button in the toolbar and activate the proper distance measurement before any ROI’s

are drawn. Failure to choose the correct distance measurement before drawing an ROI could

result in significantly inaccurate displacement amplitude values.

pg. 87

Frequency Based Filtering Frequency Based Filtering is useful in a few ways. First, it allows the recording to be edited to

show the movement of only selected frequencies. This allows the user to analyze movements

caused by different forcing functions separately.

In machinery trains involving multiple components turning at different speeds, this function can

be very helpful for identifying root cause.

Second, by passing only frequencies at which motion is occurring, most of the noise that causes

the amplified recording to appear grainy can be removed. This can make even greatly amplified

recordings, and recordings that were captured using a significant amount of gain, appear as clear

and well defined as the original unamplified recordings.

Exercise 16 - Frequency Based Filtering Step 1 – In Motion Explorer, launch Motion Amplification for the .rdi file from the previous

exercise.

Step 2 – In Motion Amplification, click the Filter

Recording button located in the upper right corner of the

screen.

Step 3 – When the Filter Specification window opens, draw an ROI on the rotor kit in the image.

A spectrum now appears in the bottom of the window. This spectrum will be helpful when

defining the filter values.

Step 4 – Click the “Add” Filter button on the

left side of the window under “Filters to

Apply”.

Filter Recording

Add Filter

pg. 88

Step 5 – Click the selection arrow under

“Type” to select the type of filter. (See

“Explanation of Filter Types” on the next

page.) Select the Bandpass filter.

Step 6 – Using the pointer, click and drag the filter “handle” on the left and position it just to the

left of the dominant peak in the spectrum. Then position the other filter “handle” just to the

right of the peak.

This sets the Low and High Cutoff values for the filter. If you would like to add to or change the

filename do so now. A descriptive filename often helps with organization. Click “Apply” when

finished. Wait for the filtering process to finish.

Step 7 – Slide the Amplification slider up and play the new filtered recording.

Note: The application of a filter does not change the original .rdi file. When a filtered recording

is created a new file is created in Motion Explorer with the word “filtered” automatically used

in the file name as an extension.

Filter Handle Filter Handle

pg. 89

Explanation of Filter Types

Bandpass: The user sets a Low and a High Cutoff value. Only frequencies which fall between

these values pass through the filter. All other values in the spectrum are ignored.

Lowpass: The user sets a single High Cutoff value. Only frequencies which fall below the High

Cutoff value pass through the filter. All other frequencies are ignored.

Highpass: The user sets a single Low Cutoff value. Only frequencies which fall above the Low

Cutoff value pass through the filter. All other frequencies are ignored.

Bandstop: The user sets a Low and a High Cutoff value. Only frequencies which fall below and

above the Low and High Cutoff values pass through the filter. The frequencies in between the

Low and High Cutoff values are ignored.

Bandpass

Lowpass

Highpass

Bandstop

pg. 90

Exercise 17 - Phase Analysis

As explained in Section 1 of this manual, Phase Analysis is often used as the next level of

troubleshooting after route-based vibration analysis.

Traditionally, there are two methods for acquiring phase data. The first method, commonly

referred to as Synchronous Phase, involves the use of a vibration analyzer along with some type

of once-per-revolution pulse generator such as a Key sensor, or Photo-tach.

With this method of phase data collection, a once per revolution pulse is superimposed over a

filtered (usually a 1x TS Band Pass) vibration time waveform. The difference in time between the

pulse and the waveform high spot is then measured and converted to degrees of shaft rotation.

The second method, referred to as relative or cross-channel phase, is accomplished by overlaying

two simultaneously measured, filtered (also 1x TS Band Pass) vibration waveforms, and

calculating the amount of shaft rotation between the high spot of the first waveform and the

high spot of the second.

Because a 1x TS Band Pass Filter was applied to the filtered recording in the previous exercise, it

can now be used as a source of filtered vibration waveform data to assess phase relationships

between virtually any two locations in the recording.

Step 1 – In Motion Explorer, highlight the filtered .rdi file from the previous exercise and launch

Motion Amplification.

Step 2 – Draw an ROI on the left side of the rotor kit. This ROI will appear red in color.

Step 3 – Draw an ROI on the right side of the rotor kit. This second ROI will appear blue in color.

Click & Drag

pg. 91

The waveform window now shows four waveforms, two from the X-axis of the image, and two

from the Y-axis of the image. Note that the left margin of the window is shaded red for the

waveforms that were generated from the red ROI, and in blue for the waveforms that were

generated from the blue ROI.

Step 4 – Click the arrows at the right side of the window to hide the X-Axis waveforms so that

only the Y-axis waveforms appear on the screen as in the image above.

Step 5 – Using the mouse or touchpad, drag and drop the waveform at the top of the window

onto the waveform at the bottom of the window.

Step 6 – Zoom to a smaller section of the overlapped waveforms. To do this, place the cursor at

the start of the desired zoom location, hold the shift key along with the left mouse button and

drag downward and to the right until the shaded zoom window captures the desired part of the

waveform. Then, release the buttons.

Click & Drag

Drop

Shift & Left Click

Release

pg. 92

A zoomed window appears with both waveforms appearing overlapped in the same window. In

the example here, it appears that the two sides of the rotor kit are moving vertically in phase

with each other.

Step 7 – Store an image of the overlapped waveform and name the file “Y-Axis Phase Data”.

pg. 93

Image Stabilization One of the most difficult environments to deal with is one in which excessive ground or floor

vibration, or wind, causes the camera to shake.

If the camera shakes, the resulting recording will shake as well. When Motion Amplification is

applied, this “camera shake” will be very apparent in the recording and may make analysis

impossible.

When camera shake is present, the best course of action is to isolate the camera tripod from the

vibration by using the vibration isolation pads, or to relocate the camera to a surface that is not

vibrating. If this is impossible, then stabilization may be the only course of action.

How to Stabilize To stabilize a file, press the info button at the top right of

the Motion Amplification Analysis window.

When the RDI Information window

opens, click the Recording Information

button.

This opens the “Recording

Information” window. One of the

properties is “Stabilized”. This line

indicates whether the recording has

been stabilized.

If the recording has not been stabilized

this line will read “No” and the tripod

icon will be blue, indicating the button

is clickable. To stabilize the recording

press the tripod icon.

pg. 94

After clicking the tripod icon,

the “Stabilize Recording”

window will be displayed.

The first entry box is where

the new filename is entered.

The second dialog box allows

a choice of stabilization types.

The user can choose between

stabilizing the file based on the entire frame (default) or selecting a portion of the frame for

stabilization.

If “Use Entire Frame” is selected the file will proceed to be stabilized.

If “Specify Portion of Frame” is selected, a new window showing an image of the recording will

be displayed.

Here, an ROI can be drawn on the image which tells the software which portion of the image to

use for stabilization. This ROI needs to be drawn on a portion of the image that is not moving,

and like all ROI’s, works best if there is some degree of contrast in the ROI. Once the OK button

is pressed the software applies stabilization based on the ROI drawn.

pg. 95

After either stabilizing from the entire

frame or a portion of the frame, a progress

window will appear indicating stabilization

is occurring.

Once stabilization is complete a

window will appear informing the

user that stabilization is complete,

and the new stabilized recording will

be loaded in the software. The

original un-stabilized recording will

be closed.

After closing the “Stabilization Complete” window the

new stabilized file will be amplified.

Once the stabilized recording is

amplified, it is now ready to be viewed.

The “Recording Information” window

will still be open and must now be closed.

Note: The Stabilized entry now reads

“Yes”, and the stabilization tripod icon

now appears grayed and inactive,

indicating the file can no longer be

stabilized.

Note: When a file is stabilized, it creates a new stabilized .rdi file. The original file is not altered.

pg. 96

Section 5

Review 1. Are waveform displacement values affected by the Amplification Slider position in Motion

Amplification?

2. How many ROI’s can be drawn on a single Motion Amplification image?

3. Would motion that occurs at 30 Hz be visible in a Motion Amplification recording in which

a 60 Hz Low Pass Filter was applied?

4. Does the application of a Filter permanently change the original .rdi file to which it is

applied?

5. Can Acceleration in G’s be selected for Waveform Amplitude Units in the General Plot

Options window?

6. What is the format of the file created when a Motion Amplified video is exported?

7. Can the displacement of a rotating component be calculated in Motion Amplification by

drawing an ROI on it?

8. Images acquired using gain often appear very grainy after Motion Amplification is applied.

How can the Motion Amplified recording be made to appear less grainy?

pg. 97

Section 6

Introduction to Motion Studio

Objectives:

1. Launching Motion Studio

2. Basic functions

pg. 98

Launching Motion Studio RDI Motion Studio brings video editing capabilities into the RDI software suite.

Users can build movies from individual Motion Amplified MP4’s as well as still images. Titles can

also be included. This application helps tell a complete story when evaluating the health of an

asset using Motion Amplification.

Motion Studio can be launched from within Motion Explorer or by opening Motion Studio from the

desktop.

When launching from within

Motion Explorer highlight

the collection from where

the mp4 videos are that are

to be used in Motion Studio

and click “New Movie

Project” in the ribbon bar.

This will launch Motion

Studio and import all mp4

videos associated with the

highlighted collection in

Motion Explorer.

These videos can now be

used to build movies to

include multiple mp4’s, and

thru the “Add Content”

function additional imported

photos and mp4’s and title

pages can be added.

pg. 99

The movie created may

me previewed prior to

saving.

When the movie is ready

to be saved click on the

“File” tab and click on

“Save Movie”.

The movie will be saved

in the same collection in

the hierarchy that was

initially highlighted when

Motion Studio was

launched.

pg. 100

pg. 101

Section 7

Maintaining the Motion

Explorer Database and Basic

Troubleshooting Tips

Objectives:

3. Import, Export, and Move Files using Motion Explorer

4. Discuss Basic Troubleshooting Tips

5. Review Software Licensing Options

pg. 102

Maintaining the Motion Explorer Database Motion Amplification files are large. It is not uncommon to acquire and store more than 100

Gigabytes of data in a single day of data collection.

The standard Iris M acquisition unit has a hard drive of 500 GB, of which about 180 GB is used by

the preloaded applications. This leaves about 320 GB of hard drive space to store data.

So, it is recommended that after the Motion Amplification data has been analyzed and processed,

it be permanently stored on either a server with a larger hard drive, or on a portable hard drive

device. The easiest way to accomplish this task is to use the Import, Export, and Move functions

within Motion Explorer.

Exercise 18 - Data Export The Export function allows the user to move a group of recordings (and their parent collections,

assets, and folders) from the acquisition unit to another computer or to an external hard drive.

Step 1 – In Motion Explorer, highlight the Classroom folder in the

hierarchy and click Export at the top of the window.

Step 2 – In the Export Specification

window make the following

selections:

1) Select “All Collections not

previously exported”.

2) Put a check in all three boxes.

3) Leave the default export name, and

then click the selection box…

pg. 103

Step 3 – In the Browse for Folder window,

click “Make New Folder”, and type “Export

Example” for the name of the new folder.

Then click, “OK”.

3) The Target Directory has now

been set to the newly created

“Export Example” folder.

4) Select “Leave Collections and

associated files on computer”.

Once these four questions have

been answered, click “Next”.

Step 4 – Export Specification page 2 opens.

Make sure the desired files are selected. If

certain files are not desired, they can be

deselected in the Export column. Click Finish to

proceed with the export.

pg. 104

Step 5 - In Windows Explorer, verify that the newly created export files are inside the folder on

the hard drive named, “Export Example”.

Step 6 – In Motion Explorer, Highlight the Classroom folder

in the hierarchy and click “Remove”.

Step 7 – Select “Remove

selected item and its children

from the hierarchy and DELETE

associated files from the

computer.” And click “OK”.

Step 8 – Click “Yes”.

pg. 105

Result - The Classroom folder and all its

contents have now been removed from

Motion Explorer.

Also, all the data files that were linked

to this hierarchy have also been deleted

from the hard drive of the acquisition

unit, freeing up space to acquire data

for other jobs.

Exercise 19 - Data Import The Import function allows the user to import data files that were exported from another system

or restore files that were exported from this unit.

Step 1 – In Motion Explorer, highlight the company name in the

hierarchy and click Import at the top of the window.

Step 2 – Select the .exp

file that was created in

the previous exercise

and click “Open”.

pg. 106

Step 3 – Click “Yes”.

Result – The Classroom folder has been restored to the Motion Explorer hierarchy along with all

its original contents.

Also, the actual data files have been restored to the acquisition unit hard drive in their original

locations.

pg. 107

Move Files The move files function allows the data files to be moved from one storage

location to another. For example, from the Acquisition unit’s internal SSD to

a network server.

An important difference between move and export is that the hierarchy for

the moved files will still be shown in Motion Explorer. Their place in the

hierarchy is not altered. They are just moved from one storage location to another, most likely

to increase available disk space.

This operation can be initiated from any level of the hierarchy. If it is initiated at a level in the

hierarchy above an individual file, all the files below the selected item will be moved.

Once a destination directory is

specified and “OK” is pressed, a

progress bar will be displayed.

After the move is complete, the hierarchy within Motion Explorer remains unchanged, as long as

a connection exists between the acquisition unit and the server or drive to where the files were

moved.

However, if the acquisition unit becomes disconnected from the server or drive where the moved

files reside, the affected levels of the hierarchy in Motion Explorer will have a faded, or grayed-

out appearance, and will not be functional if selected.

pg. 108

Troubleshooting Lighting brightens and dims during playback/Motion Amplification.

For indoor recording, check the framerate (fps) during acquisition. If the frame rate is set at a

frequency other than 2x the line frequency a beating (beat frequency) between the frame rate

and lighting may occur.

Note: This light beating can be filtered out.

Motion Appears across the entire image.

It is possible the camera was shaking during acquisition. Ensure vibration reduction pads were

used during acquisition.

Motions seem too slow or stops when I adjust playback speed of the amplified recording.

It is possible to select a playback speed that affects the way the motion appears in the recording.

This is the classic “Wagon Wheel Effect”.

For example, if a motion is at 30 Hz and you select a 30fps playback it may appear stopped or

without motion. To accommodate this, it is recommended to try multiple playback speeds to see

what works best for the specific motion you are trying to illustrate.

It is recommended to start from the slowest playback speed and work up until a suitable playback

speed is achieved.

For more troubleshooting and general support see the RDI Technology Support page.

http://www.rditechnologies.com/support

pg. 109