Moving without a cut

Most switching is a cut or a transition: you take Program from one source to another. CastPad gives you a second way to change what the audience sees — reshape what’s inside the frame, live, with no cut at all. A keyed picture-in-picture flies in from a corner and settles to half-screen; a SuperSource recomposes from full-screen into a three-box layout — all while the same source stays on Program.

Two add-on cards turn that into a one-tap move, and a shared glide engine makes it smooth. Together they let you run a dynamic, moving segment without ever touching the T-bar or cutting cameras.

The two cards

Add either from + Card on the Switcher page. Both can be added more than once.

SuperSource presets

A compact 6-slot grid of SuperSource box layouts. Tap a slot and CastPad recalls that layout — repositioning, resizing, cropping, and showing/hiding boxes on the SuperSource that is already on the program bus, so the picture rebuilds live with no cut.

• Two source modes, switched by the header buttons: + Recent mirrors your recent-presets bar in real time, or + Preset lets you pin a fixed set of up to six.
• Slots store the preset, not a snapshot — edit a preset on the full page and the card follows automatically.
• Built-in layouts (Full, the four PIP corners, 1-3, and the splits) are ready to use; your saved presets appear too. The full list, and how to build your own, is on the SuperSource page.

Upstream-Key DVE

Flies a DVE key (picture-in-picture) around the screen on the current M/E.

• Pick a keyer with KEY 1–N — that turns it into a DVE fly key (tap again to turn it back).
• A 6-slot preset grid of positions: four PIP corners plus left/right halves by default. + Preset swaps in any six from the corners, quarter-screens, centre, full, or your saved snaps.
• Four exit arrows fly the key off-screen in any direction — an instant in/out reveal.
• The fill source button sets what the key shows.

Tap a slot or an arrow and the key flies there. If the key is on air, it glides over live Program — no cut. The full editor (mask, shadow, border, keyframes) lives in the DVE section of Palettes; this card is its quick, on-air face.

One glide engine

Both cards run through the same motion engine, with three controls:

• Animate — on, every move slides to its target; off, it’s an instant cut. (Either way, Program never transitions — only the contents move.) This switch is per card — SuperSource presets and the Upstream-Key DVE each remember their own state, and both default on.
• Easing — smooth cubic ease-in-out (slow start, fast middle, soft landing) versus linear.
• Speed — 1 to 5 (default 3), roughly 900 → 220 ms per move.

Easing and Speed are shared — set them once and the same values drive SuperSource boxes and the upstream-key fly key. Only the Animate toggle is independent per card. The controls sit on the SuperSource page and in the DVE section of Palettes.

Animation frame rate

Settings › Animation frame rate sets how often CastPad sends position updates while a move glides — Auto (video), 60, 50, 30, 24, 20, or 15 fps. It applies to both cards: SuperSource presets and the DVE fly key. Auto follows the switcher’s video frame rate for the smoothest result; a lower fixed rate sends fewer updates, which can help on a slow link. Find it on the Settings page.

Note

This glide engine is CastPad’s own. Separately, the keyer/Palettes DVE also has the switcher’s built-in keyframe fly (Set A / Set B, Run To, Run To Infinite) — the hardware’s native A↔B flight, distinct from CastPad’s preset-to-preset glide.

Move, don’t jump

ATEM Software Control snaps DVE and SuperSource layouts into place instantly. CastPad glides between your saved positions — no keyframes, no macros — and one speed-and-easing setting drives both the upstream-key fly key and SuperSource.

A segment with no cuts

Picture one wide camera on Program. Fly a DVE PiP of a second source in from the right, then walk it corner to corner as the interview develops. Recall a SuperSource three-box preset to bring everyone on screen at once, drop back to the PIP, then fly the key off-screen to end clean. The audience just watched a moving, dynamic segment — and you never cut Program or pulled the T-bar.

Next: Audio