| Subcribe via RSS

EVS Launches for DYVI All-IP Switcher, EVS Servers Boost 4K Workflows

April 6th, 2015 Posted in News Roundup By SVG Staff

EVS (Booth SL3817) is making 4K live production and fast-turnaround editing practical and productive with major new functionality for its DYVI all-IP production switcher and with single-file 4K transfers between EVS servers and network-attached editing solutions.

Included in the new DYVI capabilities showcased at NAB 2015 is the ability to use the production-switcher functionality in 4K resolution, thanks to its non-proprietary processing architecture. The latest operational additions provide full timeline control, with an unlimited number of timelines per scene with multiple tracks, offering smooth back-to-back recall and unique re-entry capabilities at any resolution.

DYVI all-IP production switcher

DYVI all-IP production switcher

EVS is developing a single-file 4K workflow and will be demonstrating this implementation at NAB 2015 by ingesting RED camera 4K live signals from the RED booth into the EVS DYVI switcher.

Also new at NAB 2015 will be an extension to the macro capabilities. DYVI now supports conditional macros, allowing an unlimited number of presets to be running in parallel, with multiple conditional setups. The RamRecorder has also been made more capable, with more clip and still channels per processing module, more supported file formats, and an embedded FTP server for automated content exchange.

EVS will be demonstrating for the first time a slick new way to interface 4K editing with the XT3 server. While the current standard I/O of quad HD-SDI feeds is acceptable for camera feeds, it is not ideal for exchanging files with network-connected NLE systems.

“There is a growing surge of interest in 4K production, and our customers are looking for future-smart workflow solutions that will enable them to engage cost effectively,” says SVP Market and Product Henry Alexander. “Our approach, as always, is to work with those customers to find out where the practical limitations lie, and find ways to ease the bottlenecks.”

He adds, “They told us, for example, that, just because some productions will move to 4K origination, that does not take away from the need for multiple fast-turnaround edits. So we are actively developing a better way of giving the editors access to 4K files from an EVS Live acquisition model. With DYVI, we are proposing a completely new sort of production switcher based on new paradigms.”