The DYVI production suite, which has been demoed at both IBC and NAB this year, was recently demonstrated to operatives in the South African
broadcasting industries for the first time at a series of presentations at Inala
Broadcast in Midrand Johannesburg.
This new technology, which is best
described, for simplicity’s sake, as a ‘switcher’, is being marketed as far more than
a switcher by its developers and sales people. In fact they are still looking for an
exact name to describe their product, currently using the catch-all title, “real-
time video compositing engine’.
This product, which is in the final stages of
development, being set to undergo beta testing at a major European
broadcaster within the next month, ahead of its official launch in September, is
being presented as a game-changing technology that could shift the way
broadcasters capture, compile and put out their content.
The product is the brainchild of SVS (Scalable Video Systems), a German-based
company that was created by former employees of Grass Valley’s now defunct
European development centre. They decided to put their heads together and
create something of their own.
With the partnership and support of EVS, the
broadcasting technology company, of which SVS is now a wholly owned
subsidiary, the developers created the product which is now being marketed
under the name DYVI.
The DYVI system is marketed as offering “unprecedented creativity, simple and
secure operations along with reliability – all in a cost-effective, tailored and
highly reliable package.’ It is designed to be infinitely scalable, future proof,
easy to control and adaptable to the user’s needs and working style. Because
the system is IT-based, its only limitations depend upon on those of the
hardware on which it is run, namely the GPU and graphics capacities.
The system offers all the keyers, layers, RamRecorders and DVEs any production
could need. Although the control panel resembles traditional switchers in many
ways, it is meant to be a kind of “blank slate’ that can be configured according to
the operator’s preferences. Complex actions can be programmed into single
buttons.
Perhaps the system’s biggest draw-card is its optimisation for use in
decentralised and distributed production. While it can easily be used within a
simple, single-user environment, it is particularly well-suited to multi-location
use, using 10GB dark fibre to operate productions over 100s of kilometres.
A
producer can sit in a control room at a Johannesburg studio and have direct
control, in real time, over content being acquired by a camera crew in Cape
Town, obviating the need for expensive OB units.
The DYVI production suite is scheduled to hit the international market in
September 2014. For more information, visit www.dyvilive.com.
