USER MANUAL

Dyvi
Version 2.2 | June 2022
 USER MANUAL

Disclaimer
This manual and the information contained herein are the sole property of EVS Broadcast Equipment SA
and/or its affiliates (EVS) and are provided “as is” without any expressed or implied warranties, including,
but not limited to, the implied warranties of merchantability and fitness for a particular purpose. In
particular, EVS makes no warranty regarding the use or the consequences of use of this manual and the
information contained herein. Furthermore, EVS may not be held liable for any direct or indirect,
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howsoever resulting from the normal or abnormal use of this manual and the information contained
herein, even if advised of the possibility of such loss, damage, cost or expense.

While every effort has been made to ensure that the information contained in this manual is accurate,
up-to-date and reliable, EVS cannot be held liable for inaccuracies or errors that may appear in this
publication. The information in this manual is furnished for informational purpose and use only and
subject to change without notice.

This manual cancels and replaces any previous versions thereof.

Copyright
Copyright © 2003-2022 EVS Broadcast Equipment SA. All rights reserved.

This manual may not be reproduced, transcribed, stored (in a database or a retrieval system), translated
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requests, or report any error or inaccuracy on this user manual by e-mail to [email protected].

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User Manuals on EVS Website

The latest version of the user manual, if any, and other user manuals on EVS products can be found at
the EVS download center, on the following webpage: https://download-area.evs.com.

Dyvi | Disclaimer | i
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Contents
Disclaimer i

Contents iii

What's New? ix

1. Concepts 1

1.1. General 1

1.2. Productions 2

1.3. RAM Recorders 2

1.4. Stills 3

1.5. Logical Sources 3

1.6. Source Options 4

1.7. Scenes 4

1.8. Layers 4

1.9. Stages 5

1.10. Transitions 5

1.11. Control Panel Dynamic Delegations 5

1.12. CleanerFeeds 7

1.13. Multiple LookAhead Preview 7

1.14. Audio and VITC Support 7

2. Graphical User Interface 8

2.1. Licenses 8

2.2. General Features 9

2.2.1. Introduction 9

2.2.2. Methods for Performing Commands 9

2.3. Main Window 13

2.3.1. Overview 13

2.3.2. Header Bar 14

2.3.3. About Box 15

Dyvi | Contents | iii

 2.3.4. System Warnings 16

2.3.5. Top-Level Menu Navigation Bar 22

2.3.6. Live Image Thumbnail 22

2.3.7. Macro Record Indication 23

2.3.8. System Resource Information 23

2.3.9. Submenu Navigation Bar 24

2.3.10. System Message Tracer 25

2.3.11. Clipboard 26

2.3.12. Menu Lock Button 30

2.4. Productions Menu 31

2.4.1. Overview 31

2.4.2. Connecting to a Dyvi System 33

2.4.3. Saving Productions and Tagged Versions 33

2.4.4. Loading a Tagged Version 34

2.4.5. Editing Load Shortcut Buttons 35

2.4.6. Storing a Production as the Default Production 36

2.4.7. Loading Productions with a Different System Topology 37

2.5. Scenes Menu 38

2.5.1. Overview of the Scenes Menu 38

2.5.2. Loading a Preset Layout 38

2.5.3. Editing the Layout of the Scenes Menu 39

2.5.4. Storing and Loading User Layouts 41

2.5.5. Scenes-Overview 43

2.5.6. Layers 45

2.5.7. Toolbox 57

2.5.8. Parameter Control 62

2.5.9. Transitions 94

2.5.10. Live Stream 101

2.5.11. Source Options 103

2.5.12. Active Scene Trace 105

2.5.13. Live Control 107

2.5.14. Stage Control 107

2.5.15. ShotBox 109

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2.5.16. Couple Control 110

2.5.17. Macros 111

2.5.18. Timelines 114

2.6. Multiviewer Assignment Menu 115

2.6.1. Introduction 115

2.6.2. Creating a New Multiviewer 115

2.6.3. Editing a Multiviewer Layout 116

2.6.4. Shortcut Menu 118

2.6.5. Source Options 124

2.6.6. Output Effects 125

2.6.7. Snap 126

2.6.8. Changing the Priority of Overlapping Outputs 126

2.6.9. Special Sources: LookAhead Previews 126

2.6.10. Showing the Timecode 126

2.6.11. Forcing High Res / Low Res 126

2.6.12. User Presets 127

2.7. Macros Menu 128

2.7.1. Introduction 128

2.7.2. Macros Pane 129

2.7.3. Macro Command Pane 133

2.7.4. Parameter Selection Pane 143

2.7.5. Clipboard Macros Panes 144

2.8. Timelines Menu 146

2.8.1. Introduction 146

2.8.2. Creating a New Timeline 147

2.8.3. Parameters: Scene… Pane 148

2.8.4. Define Parameters Pane 149

2.8.5. Defining Parameters for Timeline Control 151

2.8.6. Tracks (Tree View) Pane 152

2.8.7. Tracks (Graphical View) 154

2.8.8. Multi-Track Edit 156

2.8.9. Changing Keyframe Parameter Values 157

2.9. RAM Recorders Menu 158

Dyvi | Contents | v
 2.9.1. Introduction 158

2.9.2. Control Menu 159

2.9.3. Clip Import-Export Menu 162

2.9.4. Clip Load-Save Menu 167

2.9.5. Still Import-Export Menu 173

2.9.6. Still Load Menu 173

2.9.7. FTP Transfer of Clips and Stills 178

2.10. External Devices Menu 180

2.10.1. Introduction 180

2.10.2. All 180

2.10.3. VTRs 181

2.10.4. GPIOs 183

2.10.5. Ross XPression 185

2.10.6. Network Devices 188

2.11. Configuration Menu 190

2.11.1. Introduction 190

2.11.2. Global Sources 191

2.11.3. Outputs 197

2.11.4. Substitution Tables 206

2.11.5. Couple Objects 208

2.11.6. Source Option Presets 212

2.11.7. Panel Assignment 214

2.11.8. Panel Configuration 232

2.11.9. GUI Configuration 233

2.11.10. System Configuration 245

2.12. Hardware Setup Menu 246

2.12.1. Introduction 246

2.12.2. Standard & Timing 246

2.12.3. SDI Inputs and Outputs 249

2.12.4. Live IP Input and Output Configuration 250

2.12.5. External Devices 262

2.12.6. Aux Panels 265

2.13. Status Menu 270

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2.13.1. Introduction 270

2.13.2. Status Information 270

2.13.3. Resources Overview 271

2.13.4. Production Overview 273

3. Control Panel 274

3.1. General Panel Structure 274

3.2. Operations 276

3.2.1. MainScene 276

3.2.2. Stages 299

3.2.3. Timelines 310

3.2.4. Aux Crossbar 311

3.2.5. MultiViewer Crossbar 312

3.2.6. Device Control 313

3.2.7. Macros 316

3.3. Overlay Menus 319

3.3.1. Introduction 319

3.3.2. Hold Menus 319

3.3.3. Double-Press Menus 332

4. Multi-Function Module (MFM) 334

4.1. MFM Layout 335

4.2. MFM Delegation 335

4.3. Effects Validation (On/Off) 335

4.4. Effects Parameters Control 336

4.4.1. Digipots 336

4.4.2. Fader 336

4.4.3. Joystick 336

4.4.4. Fader and Joystick Enable 337

Dyvi | Contents | vii

ICONOGRAPHY

Note Tip Warning

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What's New?
In the User Manual the icon is added in the left margin to highlight information on new and
updated features.

The changes linked to new features in version 2.2 are listed below:

Audio support.

• See section "Audio and VITC Support" on page 7.

• See section "Audio Support" on page 171.

• See section "SDI Inputs and Outputs" on page 249.

Backup and restore of the environment is possible.

• See section "System Configuration" on page 245.

The status of physical input IP streams can be monitored.

• See section "Monitoring Physical IP Inputs" on page 261.

The cluster sync status is displayed.

• See section "Standard & Timing" on page 246.

Invalid hires stills are not supported.

• See section "Still Import-Export Menu" on page 173.

Correct source status is displayed on the control panel for IP inputs.

• See section "Monitoring Physical IP Inputs" on page 261.

A warning is displayed in case less than 4 I/O boards are detected in a PM.

• See section "System Warnings" on page 16.

Firmware update improvements.

• See section "System Warnings" on page 16.

Dyvi | What's New? | ix

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1. Concepts

1.1. General
The Dyvi system differs in many ways from a traditional video switcher. It is not monolithic but can
consist of multiple processing modules, making it completely scalable.

Whereas in a classic switcher, the video processing takes places in FPGA hardware, Dyvi processing
modules use high-end computer graphic cards (GPUs) for video processing.

In a classic switcher, all video compositing takes places in MixEffect banks (MEs). Both the number of
MEs and the number of key layers they can contain is limited, along with the number of possible video
processing effects for each layer. When processing power is not needed in one ME or keyer, it cannot be
transferred and used in another place.

The Dyvi system does not have these types of restrictions. A GPU can process multiple video signals in
parallel and stack as many signal layers on top of each other as needed. The only limitation is the total
capacity of video data that has to be transferred and processed per frame.

What does a video production consist of?

• Creating complex composite images (weatherman with Chroma Key, graphics, etc.)

• Switching on / off layers (e.g. graphics, titles, etc.)

• Cutting / dissolving, etc. between several sources (cameras, servers, etc.)

For all of these tasks, a classic switcher has always used MEs. Because the Dyvi system is software
based, we have the potential to simulate classic paradigms where they make sense. Much of the user
interface looks very similar to a classic switcher and can be operated in the same way. You can even set
up the system in a completely classical mode.

Dyvi has introduced a number of structures that allow flexible and fast operation of complex video
productions. Some structures are very similar to those of classic switchers. Other are completely new
and offer great, innovative and hitherto unknown freedom to the user.

The following sections provide a description of the similarities and differences in these structures:

Section Please refer to:

Productions "Productions" on page 2

RAM recorders "RAM Recorders" on page 2

Stills "Stills" on page 3

Logical Sources "Logical Sources" on page 3

Source Options "Source Options" on page 4

Dyvi | 1. Concepts | 1
 Section Please refer to:

Scenes "Scenes" on page 4

Layers "Layers" on page 4

Stages "Stages" on page 5

Transitions "Transitions" on page 5

Control Panel Dynamic Delegation "Control Panel Dynamic Delegations" on page 5

Cleaner Feeds "CleanerFeeds" on page 7

Multiple Lookahead Preview "Multiple LookAhead Preview" on page 7

Audio and VITC Support "Audio and VITC Support" on page 7

1.2. Productions
A production contains the complete configuration used for a setup.

This includes the more hardware related items like:

• all processing modules with RAM recorders

• all control panels

• all GUIs

• all I/O interfaces (GPI/GPI, RS422, etc.)

• the network topology, with IP addresses of the control and high-speed video network

This also includes more software-related structures such as Logical Sources, Scenes, which are
described later.

1.3. RAM Recorders

Each processing module contains 8 channels of RAM recorders (for a video/key pair you require two
channels). RAM recorders work uncompressed with next frame access to any clip, any position. Any
channels can be used as a source on any processing module. The clip pool is loaded by the user from
the hard disk of the processing module. A production contains the metadata for the loaded clips and
reloads the clip pool at production load. Depending on the amount of clips, this can take seconds to a
few minutes.

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1.4. Stills
Stills are treated in the Dyvi system in a special way. The same pool of 100 stills is available on any
processing module. The pool is loaded by the user and then at any production load from the hard disk of
the Main Unit. Every processing module can use up to 10 different stills of the pool simultaneously.
These stills do not add much load to the GPU processing.

1.5. Logical Sources

Some classic switchers offer the physical input signals directly as a crosspoint selection.

In the Dyvi system, there is a step in between with a distinct difference: the logical source.

Dyvi logical sources can represent real physical sources as in traditional switchers, but with or without
further video processing, or can even be far more complex, like MEs in classic switchers. In the Dyvi
system we call these Scenes or Stages. These elements will be described in further detail below.

Logical Sources Created from Physical Sources

Physical sources provide the basic video signals that are used to create logical sources. In the simplest
case, a logical source consists of one physical source, e.g. logical source Camera1 has the physical
source MainUnit-SDI-input1. However, logical sources can be more complex. They may already contain
a video/key signal pair, source effects such as color correction, Chroma Key, etc., and may also contain
multiple layers of different sources.

Possible Types of Logical Sources

• SDI inputs from the BNC-I/O-card

• IP inputs from the QSFP-I/O-card

• RAM recorders

• Physical Stills

• External Players

• Color Mattes

• Test Generators

• Text (internal basic character generator)

If you have a complex composite image, but you do not need to switch on/off layers and you do not
need to change sources on any layer, you now can just create this as one logical source, which can be
assigned to a crossbar just like any normal camera. There's no need to burn an ME for it.

You can create Global Sources ("Global Sources" on page 191) which are visible and accessible
anywhere in the production or you can create Local Sources (see section "Sources Tab" on page 57)
which are only visible inside a specific scene.

Dyvi | 1. Concepts | 3
1.6. Source Options
A Classic switcher normally offers the same number of sources in the same order for all keyers and
background buses (X/Y-style operation). For example, a keyer layer for the graphic insert offers the
selection for all cameras, servers, etc., although this does not make any sense.

Since the number of selectable sources in a Dyvi system is in principle unlimited, this classic concept is
no longer useful. By default, each layer holds just the current source. For each layer, the user can then
define which sources should be offered during live when a specific scene is delegated to the panel.

When you define source options, you can either assign the logical sources individually, or you can have
sources arranged in group folders and then assign the complete folder. This results in a dynamic
behavior: when you later add or remove sources to this group, the source options for all of these layers
are updated wherever this group is assigned. Source options where the sources of the group were
assigned individually remain unchanged.

1.7. Scenes
In terms of video processing, a scene is very similar to a classic ME. A basic scene consists of only a
background layer (with preset and program source). You can add as many additional layers as you want.

In the Dyvi system, a lot of this functionality can also be accomplished by creating a logical source,
which consists of multiple layers with additional video processing.

However, for two purposes you will need a scene:

• bringing a layer in or out, or transition to the preset program sources

• offering source options for a layer

A basic scene does not have any transitions created for it. Per layer, you can add as many
different types of transitions as you want. "See section "Transitions" on page 94" .

A newly created scene does not have any source options, just the selected source per layer.

Default scenes in a new production do have source options.

You can add as many source options as you want per layer. See section "Source Options" on
page 103".

1.8. Layers
A layer, known as a key in traditional switchers, is used to add different kinds of video over the top of a
background, e.g. Chroma Key, DVE, crop, etc.

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If you want, you can work in the same way with Dyvi: create a logical source 1:1 from a physical source
and add different kinds of video processing to the layer, e.g. corner pinning, color correction, and film
look. Alternatively, you can create the logical source in advance, pre-composited with these effects.
When you need this composite structure in several scenes, the second approach is probably better, as
any adaptations that may potentially be required only need to be made in one place.

1.9. Stages
Stages offer access to a group of scenes where you only need one of the scenes at a time. This is similar
to a classic ME where you can recall different snapshots.

When to use Stages, Scenes or Complex Logical Sources

Suppose you have a complex image, consisting of multiple layers.

• Do you need to fade in/out any of the layers or change any of the layer sources during the show?
Yes No
↓ ↓
a scene or stage is needed. a complex logical source is sufficient.

• Do you have a number of complex images, which you need one at a time?
Yes No
↓ ↓
a stage is needed. a scene is sufficient.

1.10. Transitions
Transitions are used to change preset and program sources or to display or remove a certain layer. In a
classic switcher, a transition is usually one specific type, e.g. a mix, wipe, DVE-move, etc.

In the Dyvi system, a transition can involve multiple types at the same time, for which you can adjust the
start and end time individually. The kind of curve (linear, exponential, gamma, etc.) can also be set per
type.

As well as combining different transition types for one layer, you can combine the transitions of different
layers within a single transition, which can be recalled with a single button press in the transition section
of the panel.

1.11. Control Panel Dynamic Delegations

This is probably one of the most revolutionary parts of the system. The control panel is the most
important part of the user interface for live operation. Understanding the new principles is essential for
using the full power of the system.

The panel assignment can be divided into two parts: button assignment and section delegation.

Dyvi | 1. Concepts | 5
Button Assignment
The physical button layout of the Dyvi control panel looks at a first glance like a classic 2-ME layout.

Nobody prevents you from using it like this – but you would miss out on a lot of power and flexibility!

On a classic control panel, you delegate complete control panel banks to one ME or another.

On the Dyvi control panel, you can define sections that can consist of any number of buttons from any
row of the panel.

These sections can be of different types:

Section Name Description

Stage Crossbar Section preset/program select, layer delegation, layer select, etc.

Transition Section cut, auto, delegations, etc.

Delegation Section Stage Crossbar/Transition delegation

Auxbus Crossbar Section auxbus delegation, source select

MV Crossbar Section Multiviewer delegation, source select

Machine Control Section machine delegation, tape motion commands

Macro Crossbar Section macro recall, record, attach control, etc.

Section Delegation (used by Stage Crossbar Sections and

Transition Sections)
Since stages internally consist of snapshots (which actually are scenes in Dyvi), delegation of scenes
and stages is identical.

By the button assignment the system knows that e.g. a certain group of buttons forms a scene crossbar
section, but at this point it is not yet decided which scene should be delegated to it.

In a classic panel, you have dedicated Delegation buttons for the MEs. With hundreds of possible
scenes on Dyvi however, dedicated Delegation buttons cannot be the only option. So along with
dedicated Delegation buttons, the system offers dynamic scene- and transition-section delegation.

What does a scene crossbar section or a transition section show?

• a fixed Scene

• a Scene delegated by a fixed number of Delegation buttons

• a Scene which is selected on an auxbus, a preset or program row of another scene. In this case,
selecting another source on the driving bus automatically re-delegates the scene section to the new
scene (or to black if the new source is not a scene).

Since the number of source options differs per layer and per scene, the following rule is applied:

When a scene has to be displayed, the system fills the buttons for each layer (filling order left/right and
top/bottom is definable). If there are more sources than available buttons, a SHIFT button is
automatically added, allowing access to these sources via shifted pages.

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1.12. CleanerFeeds
Whereas classic switchers have CleanFeeds, the Dvyi system has CleanerFeeds.

Contrary to CleanFeeds which are used per ME, CleanerFeeds have a system-wide behavior.

For each layer, you can define for which CleanerFeeds it should be blanked. Depending on the SDI
output and multiviewer output, you can define the output type: Program, CleanerFeed 1, 2, 3, etc.

The information of a blanked layer is coupled to the output type. When a layer is defined to be blanked in
CleanerFeed 7, it will never show up on an output which is set to output type CleanerFeed 7, no matter
which path the layer takes to reach this output.

The current software provides 2 x 8 CleanerFeed outputs:

• CleanerFeeds 1-8 are freely programmable by the user and remove selected layers, leaving the
background untouched (i.e. with transitions).

• CleanerFeeds 9-16 duplicate 1-8, but replace the background transitions by a cut, occurring at the
flip-flop time.

1.13. Multiple LookAhead Preview

The Dyvi system offers multiple LookAhead previews of the same scene on different control panels and
even two different ones on the same panel. This can be configured as required.

Each transition module can request an individually rendered LookAhead preview image from the system
for its currently selected next transition. When you set up your panel to be able to delegate the same
scene to the top and the bottom transition module, and you then select two different next transitions,
you can preview both possible transition results in your multiviewer and decide which you prefer at the
last minute.

1.14.Audio and VITC Support

The Dyvi now supports embedded audio for SDI on both 1.8.x and 2.x software versions. Embedded
audio on SDI-inputs is de-embedded at the inputs and re-embedded into the SDI-outputs. When the
SDI-output image consists of multiple inputs, combined via layers or background transitions, always the
audio of the background program bus is used for re-embedding.

Note that in the current software version a source change in the program bus is a hard cut (not a fast
crossfade) and can lead to a short disturbance.

Vertical Interval Timecode (VITC) is routed in the same way.

Also, the RAM recorder supports embedded audio. You can either record a source which contains audio,
or you can import a video file with audio, e.g. a *.mov file.

Dyvi | 1. Concepts | 7
2. Graphical User Interface

2.1. Licenses
Only Dyvi GUIs with a valid license will start. If there is no valid license, the Dyvi GUI License pop up will
appear displaying the following message:

Click in the pop up to close it and follow the instructions in the Dyvi Technical Reference manual to install
the necessary Dyvi licenses.

Two types of licenses are available:

• Temporary licenses

• Unlimited licenses.

You will be warned at different moments that a temporary license is about to expire:

• If one or more licenses are about to expire within 30 days, a yellow warning sign will appear in the top
right corner of the header bar.

• If one or more licenses are about to expire within 10 days, a red warning sign will appear in the top
right corner of the header bar.

To find out which licenses are affected and what their exact expiry date is, click the warning sign. A
dialog box will open listing all system critical status messages, including the licenses that are about to
expire.

To get an overview of all licenses and their status, open the License Status list in the Monitoring Settings
tab of the GUI Config submenu. See section "GUI Configuration" on page 233.

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2.2. General Features

2.2.1. Introduction
The Dyvi GUI comes with a number of general features which highly improve the usability and help
speed up the operation. This section will give an overview of these different features.

2.2.2. Methods for Performing Commands

Overview
All the windows and panes in the different menus and submenus of the Dyvi GUI have been designed so
that you can modify the properties of an element in different ways. The following methods to modify an
element can be distinguished:

• Using the tools in the toolbar situated at the bottom of a window or pane.

• Using the commands in the context menu that appears when you right-click the element. The
available commands can differ depending on the element you have selected.

• Using keyboard shortcut keys.

Common Keyboard Shortcut Keys

Shortcut Description

CTRL + Q Quits the application

CTRL + S Saves the current production

CTRL + T Saves and tags the current production

CTRL + M Toggles the mouse visibility to use the GUI with touch mode only

F11 Toggles full-screen mode

ALT + 1 ... 6 Jumps directly to the user-defined layouts

ALT + Jumps directly to the menu associated with the underlined character
underlined
character

In certain cases, for example deleting an element, a dialog box will appear asking you to manually
confirm the requested action.

Dyvi | 2. Graphical User Interface | 9

Bottom Toolbars
Most toolbars contain the following basic functions:

Button Description

Expands all nodes in a tree view.

Collapses all nodes in a tree view.

Inserts an element.

Deletes an element.

Moves an element one up.

Moves an element one down.

Moves an element to the top.

Moves an element to the bottom.

Edits an element, e.g. rename, cut, copy, paste, etc.

Keyboard Shortcuts
In many windows and panes, you can use keyboard shortcut keys to quickly perform certain actions on
an element. Just select the element in the desired window or pane to set the focus there. The cursor
color will change to yellow when keyboard control is supported.

Depending on the kind of element you selected, the following keyboard shortcut keys are supported:

Keyboard Shortcut Operation

↑ Moves the cursor one element up

↓ Moves the cursor one element down

ALT + HOME Moves the element to the top

ALT + END Moves the element to the bottom

ALT + ↑ Moves the element one position up. The cursor turns green.

ALT + ↓ Moves the element one position down. The cursor turns green.

CTRL + ← Collapses all nodes in a tree view

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Keyboard Shortcut Operation

CTRL + → Expands all nodes in a tree view

F2 Renames the element

F11 Toggles full-screen mode

DELETE Deletes the element after confirmation

SHIFT + DELETE Deletes the element without any confirmation

CTRL + S Saves current production

CTRL + T Saves and tags current production

CTRL + M Toggles mouse visibility to use GUI with touch mode only

CTRL + Q Quits the application

CTRL + X Cuts the element

CTRL + C Copies the element

CTRL + V Pastes the element behind another element

CTRL + SHIFT + V Pastes the element on top of another element

ALT + 1-6 Jumps directly to the user-definable layouts User 1 - User 6 in the
Scenes menu

ALT + Underscore Jumps directly to the menu

CTRL + A Selects all elements. Only in windows that support multiple

selection.

Some tree views support Windows-style multiple selection: click + SHIFT + click selects a range, CTRL +
click toggles the selection.

ALT + scroll wheel: Moves the horizontal scroll bar left or right. It also allows you to view the information
that does not fit the display size of a window or pane. It is used in the Save As, Load, Load Tagged, etc.
dialog boxes.

Destination Column Delegation

This mechanism is supported in many drag-and-drop menus. If the destination window has multiple
columns, clicking in a certain column delegates the Toolbox window to offer all suitable objects to drop
in this column. See section "Toolbox" on page 57.

Window Layout Adaptation

Most windows and panes allow the size of its elements, i.e. fonts, buttons, images, and toolbars to be
adjusted, depending on your preference and screen size.

Hover the cursor over the element you want to adapt. Press and hold down the CTRL key while moving
the scroll wheel up or down to adjust the size.

Dyvi | 2. Graphical User Interface | 11

Tooltips
Many graphical elements like buttons and text fields support tooltips. Hover your mouse pointer over an
element to reveal more information about it.

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2.3. Main Window

2.3.1. Overview
The main window of the Dyvi GUI contains the areas highlighted on the screenshot below.

The table below lists the various elements of the main window:

# Name

1. Header bar

2. About

3. System Warning

4. Top-Level Menu Navigation bar

5. Live Image Thumbnail

6. Macro Record Indication

7. System Resource Information

8. Sub-menu Navigation bar

9. System Message Tracer

10. Clipboard

11. Menu Lock button

Dyvi | 2. Graphical User Interface | 13

2.3.2.Header Bar
The header bar can display the following information and contain the following elements:

Element Description

Dyvi product logo. Click the logo to open the About box. See
section "About Box" on page 15.

Name of the computer running the Dyvi GUI.

The name is used e.g. in the Loaded by field of the

Productions menu. See section "Productions Menu" on page
31.

Name of the currently loaded production, e.g. Main News

20h00.

Depending on how your GUI has been configured, this

information may not be visible. See section "Window Style
Pane" on page 235.

Name of the production file.

Depending on how your GUI has been configured, this

information may not be visible. See section "Window Style
Pane" on page 235.

Name of the device used to load the production.

Depending on how your GUI has been configured, this

information may not be visible. See section "Window Style
Pane" on page 235.

IP address of the processing module the GUI is connected to.

Depending on how your GUI has been configured, this

information may not be visible. See section "Window Style
Pane" on page 235.

Number of currently running Macros (Mcr) and Timelines (TL).

If you click this area, you will be directed to the Production

Overview submenu in the Status menu. See section
"Production Overview" on page 275.

N.B. Any Scene Macros that are playing will not be counted
here.

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Element Description

The warning sign indicates hardware problems or incompatible

software versions. In addition, it also indicates illegal source
selections such as recursive selection of sources or a non-
supported re-selection of scenes, processed in different
processing modules. Depending on the severity of the
problem, the warning sign can be yellow or red.

The number overlay of the warning (yellow) / error (red) sign

shows the current number of status messages. A click or CTRL
+ click on the warning sign brings you directly to the Status
Message list or to the menu page, where details of the problem
are visible. See section "Monitoring Settings" on page 238.

Current time.

Used to switch between full frame / top window and normal

window with header bar.

Used to exit the GUI. You can exit the GUI from any menu with
the keyboard shortcut keys CTRL + Q.

You can configure which of the above information should be displayed in the GUI Config submenu. See
section "GUI Configuration" on page 233.

2.3.3. About Box

The About box contains general information about the GUI, including the software version number and
date, software libraries and resources used. It appears when you click the product logo in the left corner
of the header bar. You can also access it via the GUI Config submenu. See section "GUI Configuration"
on page 233.

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2.3.4. System Warnings
Status Messages Dialog Box

Status Labels Used for Status Messages

Info messages

Warning messages

Error messages

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For path recursiveness, there is a repair button to select another valid object.

• You can check items to suppress popups and counting.

(This can be useful to prevent licenses popups)

• The Go To Selected Item button or double-clicking on an item jumps directly to the

specific menu or dialog of this item, where the item is shown in a specific context or where
the problem can be handled.

License Check
All devices (PMs, panels and GUIs) are checked for valid licenses compared to the main unit. A red or
yellow warning sign is set next to the item in the status menu and a message is sent to the status
message handler, visible in the status message dialog.

Sign Status Status Message Go to menu

Valid License ...license of...is permanent! License Dialog

Valid License ...license of...expires at... (> 30 days left) License Dialog

License Warning ...license of... expires at...(<= 30 days left) License Dialog

License Error ...license of...expires at...(<= 10 days left) License Dialog

License Error ...license of...is expired! License Dialog

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Version Check
The version numbers of the connected GUI, control panel and PMs are compared to the version of the
main unit.

Sign Status Status Message Go to menu

Software versions Software versions different Status Menu

Sync Checks
Several syncs are checked in the system and warnings are shown, if they are not in sync.

• Cluster Sync: shows if the videos from extension unit to main unit are not in sync.

• Multiviewer Sync: shows if the multiviewer video output is not in sync with the whole system sync.

• IO Card Genlocks: shows the genlock state of each I/O board of an unit.

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Sign Status Status Message Go to menu

Cluster Sync Cluster sync of...is... (only for extension units to main unit) Timing Menu

Multiviewer Sync Multiviewer sync of...is... Timing Menu

Genlock of IO Card Genlock of...on...is... Timing Menu

Illegal Paths
There are 3 types of invalid paths:

• Scenes of the main unit cannot be selected in an extension unit.

• Scenes of an extension unit cannot be selected in another extension unit.

• Recursive paths.

From the Status Messages dialog box you can open a Path Repair dialog box allowing you to fix the
problematic path by selecting another object or to delete the wrong object.

Sign Status Status Message Go to menu

Scenes of Main Scenes from Extension Units should not have Path Repair Dialog
Unit to Extension scenes from the Main Unit as source!
Unit

Scenes of Scenes from one Extension Unit should not have Path Repair Dialog
Extension Unit to scenes from another Extension Unit as a source!
another Extension
Unit

Path Signals with recursive source! Path Repair Dialog

Recursiveness
They are replaced by black. For path
recursiveness,
there is a repair
button in the Path
Repair dialog to
select another
valid object.

Connection Problems
There are 2 types of connection checks:

• Checking the connected status of each unit indicates that the unit cannot set itself as connected or
is not available.

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• If the extension unit is available and indicates itself as connected, a connection problem between the
units over the high speed LAN could be possible and is indicated as Intermediate Connection
Problem.

Sign Status Status Message Go to menu

Unit Connection The unit...is disconnected!

Problem

Intermediate The unit...cannot connect to another unit!

Connection
Problem

Firmware Update Alerts

If a software update for the processing units has a new firmware for the IO boards, the units have to be
rebooted by power cycle to get the new firmware loaded. But the firmware update could be still in
progress or was failed.

There are 3 types of alerts of the firmware update.

Sign Status Status Message Go to menu

Firmware Update In unit...the firmware update failed!

Failed

Power cycle after The unit...had a new firmware update and must be
Firmware Update power cycled!

Firmware Update In unit...the firmware update is running!

in progress

Temperature Alerts
If a temperature exceeds 80°C, there is an alert.

There are 4 types of alerts of the temperature check.

Sign Status Status Message Go to menu

Critical GPU Temperature of...of...is over...°C! Status Menu

Temperature

Critical Board Temperature of Board...of...is over...°C! Status Menu

Temperature

Critical FPGA Temperature of FPGA...of...is over...°C! Status Menu

Temperature

Critical Panel CPU Temperature of...of...is over...°C! Status Menu

or Board
Temperature

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Unit Memory Shortage

If the free memory of a unit runs short under 10% of total physical memory size, a warning message
occurs.

Sign Status Status Message Go to menu

Unit Memory The unit...is low of memory and a reboot is

Shortage recommended.

Number of I/O Boards

Usually there are 4 I/O boards in a PM.

In case one or more I/O boards are not up and running, an error message appears.

Sign Status Status Message Go to menu

< 4 I/O Boards Only...of 4 I/O boards detected in unit '...'! Please
Detected apply a power cycle if I/O boards are not detected
correctly.

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2.3.5. Top-Level Menu Navigation Bar
The top-level navigation bar is the vertical button bar on the left side of the main window. It gives access
to the different GUI menus.

Depending on the menu you select, an additional navigation bar will appear at the bottom of the GUI
offering more submenus.

The following menus and corresponding submenus can be distinguished:

• Productions • External Devices

◦ None ◦ All
• Scenes ◦ VTRs
◦ Factory Layout Presets ◦ GPIOs
◦ User Layout Presets (6) ◦ XPressions
• Multiviewer Assigment ◦ Network Devices
◦ None • Config
• Macros ◦ Global Sources
◦ None ◦ Outputs
• Timelines ◦ Substitution Tables
◦ None ◦ Couple Objects
• RAM Recorders ◦ Panel Assignment
◦ Control ◦ Panel Config
◦ Clip Import & Export ◦ GUI Config
◦ Clip Load & Save ◦ System Config
◦ Still Import & Export • Hardware Setup
◦ Still Load ◦ Standard & Timing
• Status ◦ Physical Inputs
◦ Status Info ◦ Physical Outputs
◦ Resources Overview ◦ External Devices
◦ Production Overview ◦ Aux Panels

2.3.6. Live Image Thumbnail

In the Monitoring Settings pane of the GUI Config submenu, you can enable an option which will display
a small live image of your traced output. The image will appear just below the top-level navigation bar.
See section "Monitoring Settings" on page 238.

If the GUI is in a separate room without any monitors, this image can give you a basic impression of your
traced output.

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2.3.7. Macro Record Indication

When a macro is being recorded in the system from any GUI or control panel in the production, all
actions from all user interfaces are recorded. To remind you that a macro is being recorded, this Record
button pops up below the top-level navigation bar. Pressing the button stops the recording.

2.3.8. System Resource Information

To monitor the resource usage of each processing module in your setup, you can enable a status bar in
the main window.

The status bar will be visible in the bottom left corner of the main window. By default, it will display per
processing module the current GPU processing time. Depending on the settings, the processing time
will either be expressed as a percentage or in milliseconds. The horizontal progress bar below the
processing module’s name visually indicates if the GPU processing time has reached a critical level. It
remains green as long the GPU processing time is ≤ 80%, it turns yellow between 80.1% and 90%, it turns
orange between 90.1% and 100%, and finally, it turns red when the GPU processing time is > 100%.

To have a more detailed view of the resource usage of a particular processing module, click its name. A
Resource Overview dialog box will appear. This dialog box displays additional parameters that are being
monitored: the current number of GPU high- and low-resolution in- and outputs, the current number of
GPU buffers and simultaneously used stills. Just as for the GPU processing time parameter, a horizontal
progress bar is provided for each of these parameters.

To close the dialog box again, click x in the top right corner.

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In the Monitoring Settings pane of the GUI Config submenu, you can enable an option which will
automatically notify you when one of the parameters in the Resource Overview box exceeds a particular
preset threshold. This will prevent you from having to open the Resource Overview box each time. See
section "Monitoring Settings" on page 238.

If this setting is disabled, the name of the processing module will remain white.

This will also be the case if this setting is enabled and all parameters stay below a predefined threshold.

If, however, at least one of the parameters exceeds a set threshold, then the name of the processing
module will turn yellow (> 60%), orange (> 80%) or red (> 90%) accordingly.

To find out which parameter this is, you will have to open the Resource Overview box. In the example
below, the number of simultaneously used stills has exceeded a set threshold.

2.3.9. Submenu Navigation Bar

Depending on the menu you select in the top-level navigation bar, an additional navigation bar will
appear at the bottom of the GUI offering more submenus. Note that some menus do not have any
submenus. See section "Top-Level Menu Navigation Bar" on page 22 for an overview of the available
submenus.

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2.3.10. System Message Tracer

You can access this functionality by clicking the System Message Tracer button in the lower right corner
of the GUI.

The System Message Tracer is used to trace the communication inside your Dyvi system. Currently only
communications between Telnet and network devices are shown.

The Clear Messages function will delete all messages in the console window.

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2.3.11. Clipboard
Introduction
The Clipboard is used to temporarily store parts of a production so that they can be used in a different
location of that same production, or in other productions across the system. The Clipboard can also
contain entire productions.

You can access this functionality by clicking the Clipboard button in the lower right corner of the GUI.

The Clipboard consists of two panes:

• Global Drag & Drop Clipboard

• Cut, Copy & Paste Clipboard Display

By dragging the horizontal splitter bar between the two panes, you can close one or the other pane.

Please also refer to "Global Drag & Drop Clipboard" on page 27 and "Cut, Copy & Paste Clipboard
Display" on page 28.

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Global Drag & Drop Clipboard

In the upper pane of the Clipboard it is possible to buffer any object (e.g. scenes, stages, macros, layers,
2D/3D transform parameters, etc.). Drag and drop an object from the current production into this pane
to create a copy of it.

If there are any children of the object, they will also be copied and can be used as single parameters.

To add an object to a particular part of a production (current or other), simply drag and drop it to the
desired location.

How to Load a Production

1. Click the Load Production button to load a whole production into the Clipboard.

2. Select a production and click Open.

The name of the production will appear on the Clipboard preceded by a film reel icon.

It is possible to load more than one production in the Clipboard.

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Cut, Copy & Paste Clipboard Display
The lower pane of the Clipboard can be used to cut, copy and paste objects.

Cutting Objects
You can cut any item such as scenes, stages, macros, layers or 2D/3D transform parameters using the
Cut function or the keyboard shortcut keys CTRL + X.

The Clipboard button will turn yellow to indicate that it contains cut elements.

It is possible to paste the cut object to another scene or layer using the paste function or the keyboard
shortcut keys CTRL + V.

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Copying Objects
You can copy any item such as scenes, stages, macros, layers or 2D/3D transform parameters using the
Copy function or the keyboard shortcut keys CTRL + C.

The Clipboard button will turn green to indicate that it contains copied elements.

The copied object appears in the lower pane of the Clipboard.

It is possible to paste the copied object to another scene or layer using the Paste function or the
keyboard shortcut keys CTRL + V.

As timelines belong to a particular scene and have specific parameters of that scene defined
within it, it is not possible to copy or cut a timeline itself. If the timeline is needed, you have to
copy the whole scene containing the timeline.

It is not possible to copy or cut single commands of timelines and macros. (Macros have their
own dedicated editor for this.)

Only the highest object can be copied or cut. If any child objects are indicated, this is just for
information and these cannot be selected separately.

Esc will clear the clipboard and the Clipboard button will turn gray again.

While using the Global Drag & Drop Clipboard, the Clipboard button remains gray.

To close the Clipboard, click the Clipboard button or click X in the top right corner of the Clipboard.

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2.3.12. Menu Lock Button

When auto-delegation from a control panel is set up, some windows like the Parameter Control and the
Transitions window are delegated from this control panel. With this button, you can temporarily block
this delegation.

When auto-delegation from a control panel is activated and a button on the control panel is pressed, the
GUI will be delegated to one of the following windows:

• for transitions to Scenes / Transitions

• for stages to Scenes / Stage Control

• for all other objects to Scenes / Parameter Control

When the delegation goes to a layer, a window pops up on the top-level navigation bar and offers a
subdelegation for all effects attached to this layer. If the layer source has effects attached to it, the
subdelegation for these effects is offered as well.

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2.4. Productions Menu

2.4.1. Overview

The Productions menu allows you to connect to a specific Dyvi system, where you can create and save
totally new productions and load existing productions.

The Productions menu consists of the following components:

Component Description

1 This drop-down list displays all available Dyvi systems in your network. Select a
system to connect to it.

Supervisor.exe must be running in the background on the GUI PC to enable this

feature.

The list also contains an option which, if selected, allows you to connect to a system
by directly entering its IP address.

2 In this field, you can enter the IP address of the main unit processing module of the
Dyvi system you want to connect to. This is especially useful if the available Dyvi
systems cannot be detected because for example multicast is disabled. Note that
this is only possible if the option Manual Unit Selection via IP Address is selected in
the preceding drop-down list.

3 This button allows you to connect to or disconnect from the current main unit.

Dyvi | 2. Graphical User Interface | 31

 Component Description

4 This field displays the name of the currently loaded production. It allows you to edit
the name of the production. To store the current production as DEFAULT, right click
on the current production and store current production as default production.

5 This field displays the description of the current production. In case of a new
production, this field will be empty, and you will be able to enter a description. In
case of an existing production, you will be able to edit the description.

6 This field displays the name of the production file. In case of a new production, the
production file name will only appear after you have saved the production. The
filename can be the same as the production name but can also differ from it. If you
hover your pointer over the filename, the complete file path will appear in a tooltip.

7 This field displays the device the production was last loaded from or saved to. By
this information, you always know the computer with the latest saved copy of the
current production.

8 This field displays the date and time the current production was last modified.

9 This button allows you to create a new production with the default title
NewProduction. The production will have the following default configuration:

• 2 Stages

• 5 Layers per Stage

• 3 Colormats

• 5 MainScene DSKs

• 1 processing module

All parameters can be changed afterwards if desired.

10 This button allows you to load an existing production.

11 This button allows you to load a tagged version of a production.

12 This button allows you to save the current production with the current filename.
Note that you can also save your production from any menu with the keyboard
shortcut keys CTRL + S.

13 This button allows you to save a tagged version of the current production. Note that
you can also save a tagged version from any menu with the keyboard shortcut keys
CTRL + T.

14 This button allows you to save the current production under a different filename.

15 These load shortcut buttons allow you to store an existing production and to load it
again with a single button click.

If a production is built on a system with a higher software version than the one installed on the
system where it will be loaded, it might not work properly. Software versions are downwardly
but not upwardly compatible.

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2.4.2. Connecting to a Dyvi System

Selecting a Dyvi System
The Available Systems field displays the Dyvi systems in your network. To connect to a specific
system, simply select it from the drop-down list.

The GUI will remember the last system and unit you have connected to and will automatically reconnect
to it the next time you launch the GUI.

Manually Entering an IP Address

Instead of selecting an available system to connect to, you can also directly enter the IP address of the
(main) unit you want to connect to. To be able to do this, you first have to select the Manual Unit
Selection via IP-Address option from the Available Systems field. The following dialog box will appear.

Confirm with OK.

Disconnect from the unit you are currently connected to using the Disconnect button, then enter the IP
address of the new unit, and finally, connect again.

If a system consists of more than one processing module, you can connect to any of the processing
modules.

Loading a production is only possible through the main unit. When you are connected to an
extension unit, all load buttons stay disabled.

After connection, you can create a new production or load an existing one.

2.4.3.Saving Productions and Tagged Versions

When you re-save a production (with the Save button or with CTRL + S), the current production file is
renamed to *.bak. This allows you to always go one step back.

For major productions, you may want to keep some previous versions – just in case something has been
broken by any recent changes.

In the past, the Save as... button was used to create copies, adding a kind of version number to the
name. You can do so here as well – but in this case, you will have to re-learn your production load
shortcuts.

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The Dyvi system enables you to save tagged versions of your productions. These files are stored in a
separate directory. For each production with saved tagged versions, a directory is created with the
name of your production. These directories are located in the Tagged-productions directory. You can
save a tagged version of a production either in the Productions menu via the Save Tagged button, or in
any menu by pressing CTRL + T. In the GUI Config submenu, you can define whether CTRL + T
automatically performs a normal save (CTRL + S). See section "Window Style Pane" on page 235.

When saving tagged versions, you can add a short description of maximum 30 characters which is
displayed when you load a tagged version, and a free long text which is visible in the description field
after you have loaded the production.

2.4.4. Loading a Tagged Version

For productions that have a Load shortcut button, it is very easy to load a tagged version.

Right-click the shortcut button with the desired production and select load tagged versions of
productions in the contextual menu that appears.

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The following pop-up window will open:

The currently selected production is highlighted in yellow and the number of existing tagged versions for
that production are shown in brackets after the production name.

At the bottom of the window, a drop-down list contains the different tagged versions of the selected
production. Each tagged version has an order number and a date and time it was created. Additionally,
the short description is displayed. The most recent versions are displayed at the top.

Select a tagged version and press Load Tagged Version.

When you load a tagged version, your production is restored to the state when this tagged version was
stored.

2.4.5. Editing Load Shortcut Buttons

Storing the Current Production
To store the currently loaded production in a load shortcut button, right-click the button and select Edit
Shortcut Buttons from the contextual menu.

To support touch operation as well, the same pop-up window can be triggered by pressing and holding
the button for two seconds.

Dyvi | 2. Graphical User Interface | 35

If the load shortcut button does not contain a production yet, click Store Shortcut.

If the load shortcut button already contains a production, click Overwrite Shortcut.

Clearing Load Shortcut Buttons

To clear a production from a load shortcut button, right-click it and select Clear Shortcut.

To clear all shortcut buttons, right-click any load shortcut button and select Clear All Shortcuts.

2.4.6. Storing a Production as the Default

Production
To save a custom production as the default production, right-click the Productions menu, and select
Store Current Production as Default Production. At the next startup of your system, this production
will be loaded by default.

When the topology of the Default Production does not match the active topology, the system
will switch to the Default Production's topology.

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2.4.7. Loading Productions with a Different

System Topology
When you try to load a production with a different system topology, a dialog box appears and suggests a
possible re-assignment. You can manually overwrite this by dragging and dropping the scenes and
stages from the pane to the right (Production to Be Loaded) to the left window (Current Hardware).

The example below shows a production that was built on a three-unit system. When the production is
loaded in a two-unit system, all processing which was on unit 3 has to be re-assigned to unit 1 or unit 2
of the two-unit system.

Another situation can be that formerly connected control panels to the system are no longer existing. In
this case, you can remove all unassigned control panels or continue to load the production without
removing them.

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2.5. Scenes Menu

2.5.1. Overview of the Scenes Menu

The Scenes menu is the most important menu during live production.

It is the main menu to build stages and scenes, to assign sources to layers and backgrounds, to change
the parameters of effects, to create and define transitions and to control a production whilst Live.

It consists of several dockable windows you can re-arrange and access in parallel.

2.5.2. Loading a Preset Layout

The Scenes menu comes with a number of predefined menu layouts. Each of these presets have been
designed with a particular task in mind and consist of a unique combination of windows arranged in a
particular way.

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To view the available presets, click the Preset button in the bottom left corner of the Scenes menu. A
number of preset buttons will appear.

The Overview preset layout is loaded by default.

To load a different preset layout, simply click the corresponding button.

The Preset button always remembers the last selected preset layout. The next time you click this
button, and another preset layout or user layout is loaded in the Scenes menu, then the last selected
preset layout will be loaded instead.

If the last selected preset layout is already loaded in the Scenes menu when you click the Preset button,
then the preset layout buttons will appear again allowing you to select a different preset layout.

2.5.3. Editing the Layout of the Scenes Menu

You can customize the layout of the Scenes menu so that it meets your needs. Windows can be added
and removed, arranged in a certain way and resized if necessary. Once you are happy with the result,
you can save this layout in a user layout so that you can reuse it on a later occasion. Depending on your
needs, it can make sense to even modify a preset layout.

The Layout Presets are stored in the settings of the GUI in the Windows Registry. They are not
available for use with other GUI PCs.

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Removing a Window
There are two ways to remove a window from the Scenes menu:

• Simply click x in the top left corner of the window.

• Right-click the title bar of any window.

A pop-up appears displaying the available windows. The windows with green check marks are currently
visible in the Scenes menu.

Click one of these checked windows, to remove it from the Scenes menu.

Adding a Window
The way to add a window to the Scenes menu is similar to the way to remove a window.

Simply click a window without a green check mark to add it to the Scenes menu.

Moving a Window
To move a window to a different position in the Scenes menu, drag and drop it by its title bar to its new
position. The system will highlighted where the window will be placed if you drop it there. Drops are
possible both horizontally and vertically between other windows.

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Grouping Windows
You can group multiple windows by moving them on top of each other.

The last window you drop will remain open. The other windows in the group will be collapsed under a tab
at the bottom. To open another window, click its corresponding tab.

Dragging a Window to a Secondary Screen

The Dyvi GUI allows you to drag one or more windows from the Scenes menu to a secondary screen.
The position of these windows will be retained by the preset layouts.

To bring a window back to its original position, click the diamond button in the title bar of the window.

Restoring the Factory Preset Layouts

To undo the changes you might have made to one or more preset layouts, go to Productions > GUI
Config > Import / Export and select Reload Factory Presets. See section "Import/Export Settings" on
page 241.

2.5.4. Storing and Loading User Layouts

User Layouts
Besides choosing one of the preset layouts, it is possible to create individual layouts and save them via 6
user buttons that are located at the bottom of the Scenes menu.

Storing a User Layout

To store a layout of the Scenes menu in one of the User layout buttons, right-click the User layout
button.

Dyvi | 2. Graphical User Interface | 41

The following dialog box will appear:

For touch operation, the same dialog box can be triggered by pressing and holding the button for two
seconds.

Click Store.

Loading a User Layout

To load a user layout, simply click the corresponding user layout button.

You can recall each of the six user layouts by holding down the ALT button and pressing the numbers 1-
6. This keyboard shortcut always works, not only when you are in the Scenes menu.

Renaming a User Layout

To give a different name to a User layout, right-click the User layout button and click Rename.

Enter a different name for the User layout, and then click OK.

Clearing User Layouts

Clearing a Single User Layout
To clear a single user layout, right-click the User layout button and click Clear.

Clearing All User Layouts

To clear all User layouts, go to Productions > GUI Config > Import / Export and select Reload Factory
Presets. See section "Import/Export Settings" on page 241.

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2.5.5. Scenes-Overview
Introduction
This window displays all stages and scenes that are used in the current production and shows how they
are distributed amongst the different processing modules in your network.

Stages and scenes are located in processing modules. This location defines where a stage or scene is
rendered (which causes processing load) and how the necessary video signals have to be routed (which
causes bandwidth load). When you drive your system to the limits, you can balance the load by
distributing the scenes differently.

CTRL + clicking on a scene in a stage selects this scene as the active scene.

During live operation, it is helpful when the GUI automatically shows the details of the current scene.

Since the system has multiple outputs, you first have to define the output you are interested in. This can
be an SDI output or a multiviewer output.

To select a particular output, click the Change button in the top right corner of the window.

A closed or open clapperboard icon indicates the behavior when a scene is selected as the
active scene.

When the clapperboard is open, the scene stays in its current state, so that when you make
changes to scene1, then select scene2 and finally reselect scene1, your changes will still be
there.

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 Sometimes it is desirable to have a scene always recalled in a predefined state, no matter
what the current state of the scene is. To achieve this, right-click the scene and select Misc >
Store Current State for Recall.
The icon will change to a closed clapperboard.

To change the status of a scene, right-click it and select Misc.

Traced Output Button

When scenes are cascaded, e.g. in the main scene you select scene A, in scene A you select scene B,
etc. it is not obvious which scene should be displayed. Since it is most likely that the deepest scene is
the desired one, the algorithm works as follows:

• Is the source of the selected output a scene (A)? No: stop.

• Yes: is the current program source of (A) a scene (B)? No: trigger delegation for scene (A).

• Yes: is the current program source of (B) a scene (C)? No: trigger delegation for scene (B).

• Yes: is the current program source of (C) a scene (D)? No: trigger delegation for scene (C).

• and so on…

This algorithm does not always produce the desired result, because it only traces scene
cascades via the background layer. For example, if the composite image includes scenes in
other layers and you want to display those scenes, you will need the Active Scene Trace
window to handle this. See section "Active Scene Trace" on page 105.

The defined trace output is also used to display the tally information for the selected output.

In the Scenes-Overview window, all scenes which are on air in the relevant tally system are displayed in
red. Additionally, all delegated windows such as Layers, Transitions, etc. are displayed with a red border.

When you manually select any scene in the window, the trace output function is switched off. Click the
button again to re-enable the function.

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Windows Delegated by the Scenes-Overview

Window
Window Name Please refer to…

Layers "Layers" on page 45

Transitions "Transitions" on page 94

Source Options "Source Options" on page 103

Live Stream "Live Stream" on page 101

Toolbox "Toolbox" on page 57

Active Scene Trace "Active Scene Trace" on page 105

Parameter Control "Parameter Control" on page 62

2.5.6. Layers
Introduction
This window shows the complete video processing of a scene selected in the Scenes-Overview window
or in the Active Scene Trace window.

Layers and Layer Effects

The Layer column shows the name of each individual layer (with the number of source options between
braces) and, if applicable, the specific layer effects for this layer. In the example below, the Anchor layer
has a Chroma Key and a 2D Transform layer effect attached.

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If the layer effects are shown in the Pgm-Source column instead of the Layer column, it indicates that
these effects are already part of the logical source.

In the above example, the logical source of Layer-7, called Sandy, already has the following effects:
Chroma Key, Crop, Defocus and 2D Transform.

The display order of the layers reflects the video priority, which means the highest layer in the list is
displayed on top. Layers with 3D effects can have the same priority level. In this case, their priority is
determined by the depth (Z-value). Square brackets indicate which layers belong to the same priority Z-
group.

To change the priority of a layer, move the selected layer up or down in the list using the blue arrows.

A crossed-out icon in front of the layer name means the layer is not visible.

There are two ways to turn layer visibility on or off:

• CTRL + click on the layer.

• Select the layer and press ENTER.

The background layer will switch between PGM and PST.

Layer Sources
The Pgm-Source column displays the current logical source (along with video processing, such as
effects applied to the logical source).

The Pst-Src/CleanFeed column shows the preset source for the background layer and the CleanerFeed
status of the layers. Note that this status is displayed in a reverse way, e.g. in layer called Anchor, 1,3,8
means that the layer is NOT visible on CleanerFeeds 1, 3 or 8.

You can change the current sources of all layers using a drag-and-drop operation from the Toolbox,
either in a contextual menu or the bottom toolbar. Possible sources are: All Scenes/Stages, Global
Sources, or Logical Sources.

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Please refer to "Global Sources" on page 191 for details on how to create logical sources.

Scene Thumbnail
You can create thumbnails to accompany any scene. To achieve this, first ensure the scene is shown in
the Live Stream window. You then right-click in the Layers window and select Misc > Grab Thumbnail
from Live Stream.

This window will now display a grabbed thumbnail of the scene. Right-click in the window and select
Misc > Show/Hide Thumbnail from the contextual menu. The size of the thumbnail can be adjusted by
moving the scroll wheel up or down while holding down the CTRL key. Thumbnails can be helpful when
you look offline at your production.

Thumbnails are also used in the Scenes/Stage Control, Scenes/Timelines, and Scenes/Macros window.

Types of Layer Effects

A layer can have different effects attached to it.

To attach an effect to a layer, drag and drop it from the Layer/Effects tab in the Toolbox window. See
section "Toolbox" on page 57.

You have to drop the effect exactly on the layer name.

Depending on how you have configured your GUI, a dialog box might appear as soon as you have
attached an effect to a layer. This dialog box will allow you to modify the parameters of the effect. See
section "Window Style Pane" on page 235.

Change the parameters in the dialog box and confirm with OK.

If the dialog box does not appear, double-click the effect to open the Parameter Control dialog box, or
open the Parameter Control window.

Confirm any changes of parameters with OK.

The following types of layer effects can be distinguished:

• Keyer

The following 3 types of keyers can be attached to a layer:

◦ Chroma Key

◦ Luminance Key

◦ Extern Key

• 2D Effects

◦ There are a variety of 2D effects in the system.

◦ It is possible to attach more than one effect to a layer to combine different effects.

• 3D Effects

◦ There are a variety of 3D effects in the system.

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 ◦ It is possible to attach more than one effect to a layer to combine different effects.

It is not possible to combine 2D and 3D effects within one layer.

If an effect attached to a layer is only used temporarily or occasionally, it is possible to deactivate this
effect instead of deleting it.

You can enable or disable a layer effect in three ways:

• Right-click the effect and select Enable/Disable Effect.

• Double-click the effect to open the Parameter Control window and click Enable or Return. Confirm
with Ok.

• Ctrl + click to enable/disable the effect.

A yellow cross icon next to the name of the effect indicates that the effect has been disabled in the
layer.

If a disabled effect is attached to a source, this effect is also indicated with the source itself
wherever it appears throughout the system. Any changes to this effect will impact the source
wherever it is used in the system.

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Inserting Layers with the Size/Squeeze Wizard

Introduction
In many productions, you have to create several layers and transitions to solve a common problem,
namely when the actual program signal has to be sized down or squeezed to allow space for some extra
information on the screen.

Common examples are:

• a person with sign language displayed in the lower right corner, or

• a credits roll displayed on the right-hand side of the screen at the end of a program.

To achieve this you will need three layers and respective transitions:

• one layer with a 2D Transform effect to squeeze or size down the program signal,

• one layer behind the squeezed/downsized program signal (probably color matte or graphics),

• one layer for extra information (e.g. sign language person with Chroma Key effect or graphics
accompanied by credits roll).

The transition which squeezes/downsizes the program must have a 2D Transform effect as well as the
parameters for position, size, stretch set in a way that they compensate the ones of the layer
transform2D exactly to start really fullframe without jerking.

Furthermore, a source couple has to be established for the layer with the 2D Transform effect. It must
always show the source currently selected in the program row.

The wizard offers two ways to reduce the size of the program signal:

• Size Layer: This effect will proportionally downsize the background image from the bottom right
corner to the top left corner to display further information in the background.

• Squeeze Layer: This effect will downsize the background image by squeezing it from right to left to
display further information in the background.

To open this wizard, select the appropriate scene, click the + button at the bottom of the Layers window
and then select the option Layers With Size/Squeeze Wizard. You can also right-click the scene and
select Insert… from the contextual menu.

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Inserting a Size Layer Effect
To insert a size layer effect, proceed as follows:

1. Select the scene for which you want to attach a layer.

2. Click the + button and select the option Layers With Size/Squeeze Wizard.

The Size/Squeeze Wizard appears.

3. Make sure the Size Image >> Top Left button is selected.

4. Left-click the bgnd-while-sized layer sourcebutton to select the source that will be used as a
background image.

5. To define the desired resulting size of the background image, drag the slider of the blue Preset Size
scrollbar. Note that you can still change this parameter at a later time.

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6. Left-click the button next to the info-while-sized layer source field to select the source that
contains the information that will be shown in addition to the resized background image.

There are two possibilities to display the info:

◦ info-layer in same transition (with offset): both steps (resizing of the background image and
mix-in of the information layer) will happen with one transition.

◦ info-layer with separate transition: each step (resizing of the background image and mix-in of
the information layer) will have its own transition.

When you switch from Setup Mode to Demo Mode, you can see the different transition types in
action, either by clicking the Auto buttons or by dragging the appropriate slider.

7. After having set all parameters, confirm with ok.

The following layers will be automatically created.

The sources, position and timing can be changed at any time.

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8. To change the parameters of the sized image, select the Parameter Control window.

Ensure that the checkmark is set in the corner you want the sized image to be pinned to.

After changing the size and position, it is necessary to adjust the transitions accordingly.

9. For this, select the Transitions pad and select the appropriate transition at the top. As the 2D
Transform has changed, a little star appears in the row. Right-click the row to open a new dialog and
select Adapt Transform2D Transition Effect…

After executing the transition, the PGM will appear like this.

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Inserting a Squeeze Layer Effect

To insert a squeeze layer effect, proceed as follows:

1. Select the scene you want to attach the layer to.

2. Click the + button and select the option Layers with Size/Squeeze Wizard.

The Size/Squeeze Wizard appears.

3. Select the squeeze image >> left button.

4. Select the source that will be used as the background image and squeezed.

5. Define the desired resulting size of the background image.

6. Select the source whose content will be displayed as additional information in the background
beside the squeezed background image.

7. Select the appropriate transition option.

8. After having set all parameters, confirm with ok.

The following layers will be automatically created.

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 After executing the transition, the PGM will appear like this.

9. To change parameters such as the size of the resized frame, select 2D Transform of the Sized-
Program and change as desired.

To adjust the frame, select the check box in the top left corner.

After changing the 2D Transform parameter, you have to adjust the transition accordingly.

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10. Select the Transitions\Detail menu. The change of the resized frame will be indicated by an asterisk
on the Transform2D bar.

11. Right-click the bar and select the option Adapt Transform2D Transition Effect.

All transition parameters can be changed in the Transitions window.

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 For detailed information, click info in the origin Size/Squeeze Wizard pane that opens when selecting
a layer as a size/squeeze wizard layer.

Layer Priority and Intersecting of 3D Objects

A layer's priority also depends on the type of effect that is used in this layer. A single layer can only have
3D effects or 2D effects, but not a combination of both.

The following 3D effects can be distinguished:

• 3D-Text • 3D-Cylinder
• 3D-Sphere • 3D-Brick
• 3D-Wave • 3D-Teapot
• 3D-Torus

All other effects are 2D effects.

Layers can have 32 different priority levels. Default is level 0. When layers have the same priority level,
for 3D layers the priority is defined by their Z-position, for 2D layers the priority is defined by their order
in the production. 3D effects can even intersect with a 3D background transition when their priority level
is 0.

Windows Delegated by a Layer Selection

Window Name Please refer to…

Live Stream "Live Stream" on page 101

Source Options "Source Options" on page 103

Parameter Control "Parameter Control" on page 62

Toolbox "Toolbox" on page 57

Control Couple "Couple Control " on page 110

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2.5.7. Toolbox
Overview
The Toolbox window offers you all the tools you need to create one or more scenes within a production
with layers and their characteristics.

The Toolbox window consists of different tabs that hold these tools. Each tab will be described in
greater detail below.

Sources Tab
In the Sources tab, all the sources of the system and the production are listed.

The following sources can be distinguished:

• Physical Sources: Sources that are fixed in the system.

• Global Sources: Sources that are defined in the Global Sources sub-menu of the Config menu. See
section "Global Sources" on page 191.

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• Scenes/Stages: Displays all scenes, stages and groups created in the Scenes-Overview window,
from where they can be attached to other scenes and layers.

• Local Sources for Scenes: Sources that are only seen within the scene currently shown in the
Layers window. To add or change these local sources, press the Edit button in the bottom toolbar of
the Toolbox window. The Toolbox window will now display a second pane:

By dragging and dropping items from the right to the left pane, you can now create your local sources in
the same way you create your global sources in the Config/Global Sources menu.

Local sources allow you to better structure large productions. You do not overload the number of global
sources and have these sources only visible and selectable where you really need them. A second
advantage comes when you copy scenes via the Clipboard from one production to another. Your
specific scene sources, including possible effects, are part of the scene copy.

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Scenes/Stages Tab
The Scenes/Stages tab allows you to drag and drop groups, stages and scenes directly to the Scenes-
Overview window.

When you drop a group, scene or stage in the Scenes-Overview window, the following rules
apply:

• A normal drop inserts the object at the end inside the destination.

• CTRL + drop inserts the object below the destination.

You can always change the drop destination by using ALT + drop. The item will then be
inserted at the beginning inside or above the destination instead.

Stages cannot be dropped inside other stages. Scenes dropped inside a scene are only
offered as a source for the parent scene.

You can always move items either with the blue up/down arrows or use cut (CTRL + X) and
paste (CTRL + V).

Transitions/Effects Tab
The Transitions/Effects tab displays all 2D and 3D transition effects that can be added to a layer or
background layer transition.

• Transition: Represents a new transition. To add the transition to the Transitions window, simply drag
and drop it.

• Transition Effects: Contains the transition effects (2D/3D) that can be added to a layer transition.

• Backgroundlayer Transition Effects: Contains the transition effects (2D/3D) that can be added to a
background layer transition.

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Layers/Effects Tab
The Layers/Effects tab displays all effects that can be attached to layers and background layers.

• Layer: Represents an empty layer. To add the layer to a scene in the Layers window, drag and drop it
in the desired position.

• Layer Effects: Contains the effects that can be added to a layer. To add an effect, you can drag and
drop the effect from this window onto the layer.

• Background Effects: Contains the effects that can be added to a background layer. To add an
effect to a background layer, select it in the Layers window and drag and drop from this window onto
the background layer.

It is possible to add more than one effect to a layer and a background layer.

2D and 3D effects cannot be combined in one layer.

CleanerFeeds Tab
The CleanerFeeds tab allows you to define in which CleanerFeed a layer will be visible or not.

Drag and drop the CleanerFeed to the Pst-Src/CleanFeed column in the Layout window. The number
will be indicated in yellow.

When you drag a CleanerFeed to a layer which has already had this CleanerFeed assigned to it, it will be
removed.

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A second way to add/remove CleanerFeeds is to right-click in the CleanerFeeds column of the Layers
window and make your choices accordingly.

Dragging and dropping one or more rows into the Pst-Src/CleanerFeed column of a layer will define the
visibility of this layer in the CleanerFeed.

Delegating the Toolbox Window

The Toolbox window is delegated from several windows in the Scenes menu.

The easiest way to delegate the toolbox window is to click the appropriate elements in the relevant
destination window. Depending on where you click in certain windows, different elements will be shown
in the Toolbox window.

To display the correct elements in the Toolbox window, you can also use the tabs at the top of the
window.

Assigning Elements
The default way to add an element from the Toolbox window to a destination window is to simply drag
and drop the element onto the appropriate element in the destination window.

However, certain destination windows behave in a special way.

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Assigning Elements in the Layers Window
To add an effect to a selected layer or to set a source, simply double-click this element in the
corresponding tab of the Toolbox window.

2.5.8. Parameter Control

Introduction
The Parameter Control window provides control for all scene parameters.

You can access the Parameter Control window in four ways:

• Double-click the appropriate layer effect. (modal dialog).

• Select the effect and press Enter (modal dialog).

• Right-click the effect and select Edit Parameter (modal dialog).

• Select the desired layer effect and go to the Parameter Control window.

If the option Open Parameter Control Dialog when Adding New Effect is selected, the Parameter
Control window will automatically open when you add a new effect to a layer. See section "Window Style
Pane" on page 235. (modal dialog)

When the Parameter Control window is opened in a modal way, all other action in the GUI is blocked until
you press the Ok button. The advantage of this mode is that you can discard the changes you made to
the effect by pressing Cancel.

Some parameter groups are adjusted in special layouts with a dedicated graphical representation.

Different Ways to Modify Parameter Values

Using the GUI to Modify Parameters

The way to modify the value of a particular parameter depends on its type.

Analog Parameter Values

Analog parameter values can be modified in different ways:

• by a left mouse click and/or a drag in a vertical bar (sets the absolute value);

• by a mouse click and use of the scroll wheel;

• by a click in a digit display to enter a numeric value;

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• by a double-click in the bar value to reset the value to the default value;

• by a click on the parameter name you will see the Pickup Control pop-up.

Parameter Click & Drag Control

Parameter controls such as the Size control represent the value in the form of a vertical bar. You can
click anywhere in this field to set a new value or you can click and drag the bar to continuously change
the value. For parameters with a large range, this way of controlling can be very rough. To allow more
precise control, you have several options:

• You can use the up/down arrows of the keyboard when the control is selected (blue border). Click on
the control to select it. Normal up/down allows fine control, holding SHIFT or CTRL + up/down
arrows increases the size of the increments.

• Right-click and drag. In this mode, the value display field is only used to pick up the mouse. Once you
have clicked, the mouse remains positioned in this area and your drag movement performs an
incremental value change, in the same way as when using digipots. Normally, the vertical mouse
movement is detected. When you hold down CTRL, a horizontal mouse movement is detected.

• You can click on the name of the parameter control (the name then turns yellow). This opens a
separate pop-up window.

The behavior for value change is similar to the right-click described above, but here you can adjust
the precision (very precise, precise, normal, rough, very rough) with the blue slider below. For 2D and
3D positions, this method also offers the x/y control. Holding down SHIFT limits to y-direction, CTRL
limits to x-direction. Pressing SHIFT + CTRL simultaneously controls the z-direction for 3D-
positions.

Normally, when you change menus, this window closes automatically. If you click the pin button, it
stays open, to allow permanent control of one parameter.

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 Clicking on the cross in the right upper corner closes the window and turns the color of the
parameter back to white.

Resetting the Parameters

The Reset All But Sources button resets the complete group of parameters to default. Sources are not
touched.

Using the Control Panel to Modify Parameters

If you have set up an auto-delegation with a control panel, each new selection in the Parameter Control
window will force a pop-up control in the control panel display, offering hardware control via the digipots
next to the display. When, e.g. during production, a GUI adjustment is performed by a second person
and you do not want to disturb the control panel operator by a display pop-up, you can temporarily
disable the auto-delegation by turning off the Delegate Panel button.

Modifying Layer Parameters

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Modifying the Layer Priority

The most important part of this window is the priority adjustment of the layer. Since the priority of the
selected layer depends on the priority of the other layers in the scene, all layers are displayed with the
current layer highlighted in yellow.

The layer priority also depends on the type of effect that is used in this layer. A single layer can only have
3D or 2D effects.

Layers can have 32 different priority levels. Default is level 0. When layers have the same priority level,
for 3D layers the priority is defined by their Z-position, and for 2D layers the priority is defined by their
order in the production. 3D effects can even intersect with a 3D background transition when their
priority level is 0.

3D Layers in the same priority group are marked with a white border. Pressing the Up button several
times in this example would give you the following result:
1x: Box between Host-2 and BgdLayer
2x: Box between Host-1 and Host-2
3x: Box between Torus/Cylinder and Host-1
4x: Box in 3D-group Torus/Cylinder/Box
5x: Box above Torus/Cylinder

Pressing the Inside 3D Group buttons changes only the display order in the GUI. It does not have any
influence on the priority.

Besides using the arrow buttons to change the priority, you can also enter a priority level between 0 and
31 directly.

Excluding a Layer From a CleanerFeed

In the lower part, you can exclude the selected layer from being shown on one of the 16 CleanerFeed
outputs.

Background transitions in CleanerFeeds 1-8 will be executed as defined for the transition.

Background transitions in CleanerFeeds 9-16 will be executed as a Cut.

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Note that in the Layers window, CleanerFeeds are indicated in reverse. The status above would be
displayed as:

Layer Drop
If selected, the layer will be switched off immediately after execution of the transition. This is used for
layers which are only active during a transition, e.g. during replay wipes.

Source/Dissolve Source
As well as the hard cut as the standard source change, the Dyvi system offers a simple way of dissolving
to a new source.

On the Panel, if the dissolve time is set to greater than 0, pressing another source button in the layer row
of the control Panel results in a dissolve to that source.

In the GUI, selecting a new Source will cut to this source, while selecting a Dissolve Source will mix to
this source (after the mix is performed, the Dissolve Source will empty again). If a dissolve time is set, a
dissolve will be executed between the sources selected for Source and Dissolve Source.

Modifying Chroma Key Parameters

Key Tab
The Key tab defines which colors belong to the foreground and which colors belong to the background
and are made transparent. This is primarily determined by the key color and the selections.

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Color
The key color is the average color of the background, often represented by a green or blue box.

• Hue: The hue parameter changes the color and in the graphical key area presentation it is the radial
line from the center point.

• Luminance: The luminance value is not represented in the graphical key area representation. Its
value should be the average luminance value of the background color.

• Saturation: The saturation parameter determines at which background color saturation the
generated key signal is fully transparent. It is represented in the graphical key area representation by
the outer dot on the radial hue line.
The ideal position is very near before the accumulation of main background colors, so the
background colors are represented by full transparency.

• Achroma: Towards the center on the hue line, the inner dot represents the achromatic value (called
Achroma). Normally it is set in the center, the achromatic point of the color area. But if the
foreground contains elements with white, black or gray colors, they may appear slightly keyed as
well, when they are tinted with the background color. Moving the Achroma value slightly away from
the center point makes the achromatic foreground colors dense (opaque).

• Key Selectivity: The left and right selectivities determine the transition from the background colors
to the foreground colors.
The saturation and achromatic points define the inner and outer flanks of the key area seen in the
graphical key area representation.
The distance between the two flanks affects the softness of the key signal transition and should be
as large as possible.

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Setup Tab
The Setup tab settings refine the chroma keying.

Spill/Color Cancel
• FGD Fade: (Foreground Fade): When Additive has been selected as layer character, switching off
this option will improve the quality of the keying. In this mode, luminance differences from the keyed
foreground signal areas (e.g. shadows) will be kept and added to the new background. For good
results the Chroma Key scene has to be lit very well.

• Color Cancel: If the background does not consist of a homogenous area, color shifts can be
corrected with this function.

• Spill: This parameter corrects scattered light that falls on the person or object in the foreground.

Key
• Key Invert: Inverts the key signal.

Softness
• Softness: This parameter softens the edges.

• Softness Direction: You can select here which of the images will be softened.

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Luminance Key
If you want to key a signal only based on the luminance content of the image, use the Luminance Key as
a layer effect.

Adjust the key with Clip & Gain, Cleanup & Density or Auto Key. You can also drag the green line. For
the difference between Clip/Gain and Cleanup/Density adjustment, please refer to the Chroma Key
description. See section "Hold Menus" on page 319.

Key Invert swaps the keying between the black and the white parts of the picture.

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Extern Key
An Extern Key is used to key any video fill signal with the luminance content of a separately provided key
signal.

Click the Keysource button to select a source for the key.

Adjust the key with Clip and Gain, Cleanup and Density or drag the green line. For the difference
between Clip/Gain and Cleanup/Density adjustment, please refer to the Chroma Key description. See
section "Hold Menus" on page 319.

Devices like graphic machines and character generators provide a fill and a key signal. For
these signals you only should use an Extern Key when there is a need to adjust the
transparency of the signal. In most case, the switcher is not required to change the carefully
set transparency from the graphics department. In this case, you should just generate a logical
source with the key signal set as the alpha channel. (See section "Global Sources" on page
191).

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2D Effects
Color Correction Basic

In the basic color correction, you can adjust Saturation, Contrast, Gamma, and Lift.

Contrast works symmetrically around the 50% level of the signal.

Values greater than 1.0 will add more contrast to the middle section (left image), values smaller than 1.0
will add more contrast to the black and white sections (center image). Negative values will invert the
image (right image with value -1.0).

Gamma allows you to enlarge (values greater than 1.0) or decrease (values smaller than 1.0) the contrast
of the complete signal.

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For Lift, you can either adjust the complete signal (Master) or the individual colors.

The example shows different positive offsets for all colors.

Color Correction Enhanced

The Color Correction Enhanced allows you the individual parameter control in a much more detailed
way. You can adjust the color in the RGB, HSL or YUV color space.

For RGB you have the choice of adjusting the parameters for the complete range (RGB All) and individual
lift adjustments for the black part, the middle part, and the white part RGB Segments). Some parameters
like saturation, gain. etc. are available in all three color spaces. The result, depending on the color space,
can be slightly different. All adjustments can be applied in parallel.

The graph shows the effect of the adaptation, horizontally the incoming signal, vertically the outgoing
signal, left side black, right side white. If no correction is applied, you see a diagonal white line from the
bottom left to top right corners.

RGB All

Temperature allows you to change the color temperature by either keeping blue linear and reducing the
green and red gain (cooler) or by keeping red linear and reducing the green and blue gain (warmer).

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Values greater than 1.0 will add Values less than 1.0 will add Negative values will invert the
more contrast to the middle more contrast to the black and image
section white sections

(left image) (center image) (right image with value -1.0)

Contrast works symmetrically around the 50% level of the signal.

For Lift, Gamma, and Gain you can use the Master slider to adjust the complete signal or use the
Red/Green/Blue sliders to adjust individual colors.

Lift offers a linear offset of individual colors.

The above example shows a positive offset of red and a higher offset of green.

Gamma allows you to increase (values greater than 1.0) or decrease (values smaller than 1.0) the
contrast of the black parts of the complete signal (Master) of individual colors.

Contrary to Temperature, Gain allows you to adapt the gain of individual colors.

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RGB Segments
Contrary to RGB All, here you can adjust the lift for the Black , Mid and White parts of a signal
separately.

For Black, Mid, and White parts, you can use the Master slider to adjust the complete signal or use the
Red/Green/Blue sliders to adjust individual colors.

Black range and White range adjust the relevant segments widths.

Maximum black Minimum black Maximum black Minimum white

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HSL

This representation offers the classical way of controlling Hue, Saturation, and Luminance. Luminance
Lift and Luminance Gain work in the same way as for RGB All, but only for the complete signal.

YUV

The YUV representation enables similar adjustments to RGB All, but are applicable for the entire signal.

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Wipe

A wipe pattern attached to a layer gives you the following options:

Enable and Invert.

A wipe pattern as a transition gives you the following options:

Normal, Reverse, NormalReverse and ReverseNormal.

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There are three more pages of basic wipes.

Adding more than one wipe processing to the same layer expands your wipe options even further.

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Wipe borders are adjusted in a separate window.

2D Transform

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2D Transform Filtering Options

There is choice between two different filtering options. The default setting is “balanced”. You can enable
high quality filtering by checking the box on in System Config called “Enable 2D Filtering for 2D
Transformations”.

• High Quality Filtering

High Quality Filtering produces better pictures when up or down-sizing but potentially uses more
GPU power than Balanced Filtering.

• Balanced Filtering

Balanced filtering mode shows less quality in down-sized pictures, but it is more efficient for the
GPU.

Spin Wheel
The spin wheel for the Z-rotation allows continuous adjustment over the 360 degrees.

Fine Positioning
The mouse pickup area in the bottom left corner can be used for fine positioning. Just click and drag the
mouse in the direction you want to move the layer. The mouse is captured to the drag area. With SHIFT
or CTRL you can restrict the movement to one axis.

Object Pinned To
In this area, you can select a specific corner or the center of an object you want to remain fixed while
resizing or stretching the object. This function only works with the parameters ‘Size’ and ‘Stretch’.

Border
It is possible to set a border around a 2D transformed box. Enable the option Border & Shading.

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Crop
It is possible to set crop settings in the Crop tab.

There are two modes to center the box when cropping:

• Auto: will adjust the center of the box as the crop is applied to remain in its central position on
screen.

• Fixed: will not adjust the box position but only apply the crop.

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Corner Pinning

The graphical representation offers you a yellow handle for each corner. You can drag each handle
separately or select multiple handles to adjust them in parallel.

To select multiple handles, you can:

• drag a rectangle around the desired ones; or

• click the desired handles while holding down the CTRL key.

Selected handles turn red.

To move multi-selected handles in parallel, while holding down the CTRL key, click one handle and drag
it. Please note that clicking will not only select but also toggle the state of the handle. The handle which
you use for dragging should not have been selected previously. Otherwise click the handle twice to re-
select it.

Alternatively, you can simply move the mouse inside the area defined for the corner pinning to reposition
the image as a whole.

The border color can also be adjusted in the Border Color display by clicking and/or dragging.

If one or more corner marks are moved on top of another or outside the rectangle shape, it
might cause the picture to disappear. In this case, it may be necessary to select Reset
Corners to Default and start again.

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MeshBezier

The graphical representation offers you a grid with 8x8 yellow handles to alter the image.

You can drag the handles separately or select a group of handles to be dragged in parallel.

To select multiple handles, you can:

• drag a rectangle around the desired ones; or

• click the desired handles whilst holding down the CTRL key.

Selected handles turn red.

Dragging a red handle moves all selected handles in parallel.

You can set individual handles back to their default position by right-clicking them and selecting Set to
Default from the shortcut menu, or you can click the Reset Grid to Default button below the graphical
representation to reset the complete grid.

For easier adjustment, you can show the default position of the handles and/or the edit grid.

To allow dragging of handles to a position far outside the image area, you first have to shrink the image
inside the Mesh Bezier Canvas:

SHIFT + scroll wheel will shrink the image inside the canvas

CTRL + scroll wheel will zoom into the canvas.

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To apply a strong deformation to a certain section of the image, you can either drag single handles far
outside of the image or you can select a couple of adjacent handles and drag them. The results can be
very interesting.

Color Matte

To define a Color Matte, select one of the buttons: Color A or Color B. The selected color will be
displayed in the square to the left of the predefined colors.

You can also select a color by a click in the multi-color-area.

It is also possible to select a predefined color from the choice of colors, type in special values or select a
color by name.

The Color Matte area shows the current selection.

It is possible to adjust a Color Matte via HSL or RGB parameters.

If you click the Select Color By Name button, a number of different predefined colors appear you can
choose by name.

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Select a color and confirm with Apply.

Clicking the two arrows button will swap the colors.

Text
The system offers the possibility to create text templates. Therefore, different font types are
implemented to use. It is possible to define text size, text position, text color and set a background box
for a text.

The text color and the background color can be adjusted in the relevant displays by a click and/or drag
operation.

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How to Import Your Own Fonts

Currently, only True Type Latin Fonts are supported.

To add your own custom fonts, proceed as follows:

1. Connect to the IP address of the main processing module using any FTP-client software like FileZilla.

Use the following credentials to connect:

◦ username: ramrec

◦ password: ramrec

2. Transfer your custom fonts to the Fonts folder.

3. Restart the Dyvi system.

Now your fonts are selectable in the font list of the text objects.

To be able to also preview your fonts in your GUI, you have to install the fonts on your GUI PC
as well. In Windows10 you can do this by right-clicking the font file and by selecting Install
from the contextual menu.

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Using Custom Fonts
In order to use the custom fonts that can be seen in the list, you first have to enable this option as
follows:

1. In the Dyvi Supervisor, select DYVI-Settings.

2. In the DYVI-Cluster-Settings, press Shift + click on the grayed Arguments button to open the
Arguments settings.

3. In the Arguments field, type ‘--openglfontmode 4’ and select Apply.

4. In the pop-up window that opens, confirm the change and reboot the system.

The custom fonts will now be available for selection from the fonts list of the text objects.

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Analog Clock

Color and Mode Adjustments for the Analog Clock

Digital Clock

Color and Mode Adjustments for the Digital Clock

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Film Look

Adjustments for Film Look

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Halo Effect

Adjustments for the Halo (Glow) Effect

Leave Color

Adjustments for the Leave Color Effect

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Crop

Adjustments for the Crop Effect

At this time, changes made to this Crop effect will not make the corresponding change to the
Border Size in 2D Transform.

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3D Effects
The Dyvi system is also able to display real 3D effects. You can choose between a range of different
shapes.

Dragging the object controls the X/Y-position, the scroll wheel controls the Z-position, SHIFT + scroll
wheel adjusts the scale (size).

Dragging the object while holding down the CTRL key controls the X/Y-rotation, the scroll wheel
controls the Z-rotation.

3D Brick

Example of 3D Brick Adjustments for the Brick Effect

3D Text

Example of 3D Text Adjustments for the Text Effect

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3D Sphere

Example of 3D Sphere Adjustments for the Sphere Effect

3D Wave

Adjustments for the Wave Effect

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3D Torus

Example of 3D Torus Adjustments for the Torus Effect

3D Cylinder

Example of 3D Cylinder Adjustments for the Cylinder Effect

3D Teapot

Example of 3D Teapot Adjustments for the Teapot Effect

The shape of the teapot has been added as an example of how the system is able to create a projection
on any kind of a 3D object.

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2.5.9. Transitions
Introduction
The Transitions window allows you to create and edit transitions for the layers of the selected scene.

Unlike a classic switcher, in the Dyvi system there is no 1:1 relationship between a layer and a transition.
By default, a scene does not have any transitions.

However, Dyvi transitions are very powerful. A single transition can affect multiple layers and each
transition part for a specific layer can consist of multiple effect types like Mix, Wipe, Pageturn all in
parallel. All of them can run with individual curves and time offsets.

To provide full control of all these parameters and still be able to give a total overview of all transitions in
a scene, the Transitions window offers two views:

• Overview

• Details

In both views, you can add transitions via a drag-and-drop operation from the Toolbox window, via a
shortcut menu, or via the bottom toolbar. For a drag-and-drop operation, delegate the Toolbox window
by a click in the Transitions window if necessary.

Once a transition is created, you have to define for which layers this transition should manipulate.

The way to accomplish this depends on the view you have selected.

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Overview View
In the Overview view, all transitions are displayed on the left side, all layers on the right side.

To define which layers should be affected by a certain transition, just drag a line from the transition to
the relevant layer. You can drag lines to multiple layers, rename the transition, change the duration, or
you can change the display order for the touch screen in the control panel. Dragging a line results in a
default mix type transition.

To trigger a transition, either click the transition while holding down the CTRL key or select the transition
and press the Cut or Auto button in the bottom toolbar.

Details View
The top part of the Details view shows all transitions in the same order they will appear in the control
panel display. One of them is selected.

On the left and right sides, all layers of the scenes are displayed. The left side shows the current state
before the selected transition, the right side after the transition (visible or not).

In between, a light gray part indicates the time range of the transition in frames.

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You can drag the white triangles on top of this area to position the transition on any desired frame.

Assigning Transitions
Assigning a Single Transition
To define which layers should be affected by a certain transition, just drag a line from the relevant left
side layer to the right side layer (or vice versa). This will result in a default mix transition. Alternatively,
you can drag a transition effect from the Toolbox window and drop it on the left or the right layer symbol.

Depending on the dragging direction or the dropping destination, you will see > or < in front of the effect
type. As long as only one layer is affected by the transition, this does not matter. When more layers are
involved, the following rule applies:

The reference layer (marked with a green arrow) will always be transitioned. In or out direction is defined
by the current state. All other affected layers will be synchronized, which means they will be in sync with
the reference layer when the arrow shows in the same direction, or in counter sync when the arrows
show different directions. When their current state at transition start does not allow this, they are not
touched for the first transition. After the first transition, all layers are in sync and will perform their
transition parts accordingly. Background layer transitions always run independently.

The reference layer is the first layer (without the background layer) which gets a transition effect. Via a
shortcut menu, you can change the reference layer and the direction at any time.

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Assigning Multiple Transitions

Until now, we have looked at transitions which consisted of one transition effect per layer.

In fact, each layer can have multiple transition effects at the same time. Like for the first transition effect,
you can drag another line between the layers or drop another transition effect from the Toolbox window
to a layer symbol. Now, the direction no longer matters. It is defined by the first transition effect.

Editing the Transition Parameters

Each transition effect consists of two sets of parameters:

• Type Parameters: differ per type, e.g. for Pageturn Rotation, Shading Brightness, etc.

• Time Parameters: start, offset, linear, etc.

You can adjust the individual parameters in the Parameter Control window. Clicking inside the time
range (light gray area) gives access to the parameters. Clicking on the effect names gives access to the
type parameters.

By default, a transition effect covers the complete transition range, which means the start point is 0
frames, the end point is max frames, indicated by the white triangles. A second way to adjust the timing
is to drag the triangles to the desired position. Once the effect time is smaller than the total transition
time, you can pick up the effect bar in the middle between the triangles and drag it. When the Snap
Start/End button in the bottom toolbar is active, the start- and end-time snap to frame, otherwise a time
position between frames can be set. If you right-click the area between the ‘start’ and ‘end point’ of the
transition, you can open a shortcut menu with which you can change curve type of the transition effect.

Creating a Replay Wipe

The Replay Wipe is a very quick and easy way to create slow-motion separators by combining a
background transition with an animated layer – consisting of a key and a fill signal. These two sources
have to run synchronously, e.g. via a Ram Recorder.

How to Create a Basic Replay Wipe (Video + Key)

To create a basic Replay Wipe, proceed as follows:

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1. In the Overview view of the Transitions window, create a new transition and connect it to the
BdgLayer.

2. In the upper part of the Details view of the Transitions window, select the transition you just created.

3. Draw a new transition bar from the BgdLayer on the left to the BgdLayer on the right by holding your
left mouse button.

A second Mix transition is automatically generated (named Mix-2).

4. To turn the Mix transition into a Replay Wipe, right-click the newly created Mix transition bar and
select Change Transition Effect and then 2D Effects.

5. Select Replay Wipe to open the Replay Wipe Wizard.

6. Define the parameters of your Replay Wipe like Fill Source, Key Source, Clip Duration and Transition
Mode (Normal, Reverse, Normal/Reverse, Reverse/Normal).

7. Click the drop-down arrows to view all possible sources and possibilities.

8. Click Accept to set the sources.

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To change the sources at a later moment, right-click the Replay Wipe transition bar and select Open
Wizard.

9. To achieve, that the background mix happens at the moment when the replay effect is full screen,
adjust the exact timing of the Mix transition start and end by dragging the arrows to the correct
positions.

To find the ideal moment of the background transition, run the Replay Wipe with help of the
fader to a full screen position.

Creating an Advanced Replay Wipe (Video + Key + animated

background wipe)
In addition to the two sources of a Replay Wipe (Fill and Key source), you can run a third source - also
synchronously to the other two – with an animated background wipe transition.

To achieve this, change the Mix transition to Change Transition Effect, 2D Effects and Alpha Wipe.

The following window appears automatically.

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Select the source for the animated background transition and the same clip duration and mode as for
the Replay Wipe.

Confirm your selection with Accept.

When a scene with a Replay Wipe is recalled, the ramrecorder channels are cued to the In
point (in Normal Mode), the Out point (in Reverse Mode) or to the In or Out point (in
Normal/Reverse or Reverse/Normal Mode) alternatingly.

Changing a Source
Changing the Background Source
At any moment during the execution of a transition, it is possible to change the PGM or PST source. The
newly selected source will immediately replace the original source and adopt the state of visibility that
corresponds to the transition progress at that moment.

Note that if the Auto button was pressed on the control panel to execute the background transition and
if the Transition Abort function is enabled, there is a deviation to this behavior.

When you select a new PGM source X on the control panel PGM bus, the running auto transition will
immediately jump back to its starting position. At the same time, the PGM source X becomes the (new)
PGM background source.

When you select a new PST source Y on the control panel PST bus, the PGM background source is not
affected. At the same time, the PST source Y becomes the (new) PST source.

Changing a Layer Source

At any moment during the execution of a transition, it is possible to change the source of a specific layer.
The newly selected source will immediately replace the original source and adopt the state of visibility
that corresponds to the transition progress at that moment, the layer priority and selected layer
transition.

Windows Delegated by the Transitions Window

Window Name Please refer to…

Parameter Control "Parameter Control" on page 62

Toolbox "Toolbox" on page 57

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2.5.10. Live Stream

Introduction
The Live Stream window shows the live image of the scene currently selected in the Scenes-Overview
and the Layers window. The window can also be used to graphically adjust some of the layer effect
parameters.

The current software only supports a live stream to one GUI at a time. Click acquire live stream to get
the video image.

The current software supports the 2DTransform effect (used for sizing and positioning a picture in
picture image) and the internal basic text elements.

When you select a layer in the Layers window that contains a 2DTransform effect or a basic text as a
source, a dotted white line is drawn around the active part of the layer according to the size and position
of the 2DTransform effect or the text. Alternatively, you can click in the live image to select the relevant
layer.

If two 2DTransform layers are selected, the contextual menu will enable the position and size
parameters of the second selection to be adapted to match those of the layer that was selected first.

When two layers overlap, clicking in the intersecting area will select the lower layer.

A double-click in the Live Stream window shows all layers which can be graphically accessed with a
yellow border.

Direct Positioning and Sizing

When a layer is selected (white dotted border), you can drag it to a desired position. To avoid
unintentional movement, moving is only accepted after a short timeout. Hold the mouse button down
until the border turns green, indicating that dragging is enabled.

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Alternatively, a selected layer can be moved with the keyboard arrows. To enable arrow positioning hold
down the CTRL key. Now you can also change the size by turning the scroll wheel of the mouse.

For arrow buttons and scroll wheel there are three modes:

• CTRL key: small steps

• CTRL and SHIFT or ALT button: medium steps

• CTRL and SHIFT and ALT button: large steps.

Changing Layer Priority / Mirror X or Y Position

When a layer is selected, you can right-click in the Live Stream window.

A shortcut menu appears with the following commands:

• Send to Back: Sets layer priority just over background.

• Send Backwards: Sets layer priority one down.

• Bring Forward: Sets layer priority one up.

• Bring to Front: Sets layer to the top priority.

• Mirror Horizontally: Inverts the x-position.

• Mirror Vertically: Inverts the y-position.

Multi-Selection of Layers
When you hold down the CTRL key and select a layer while another was selected, the border of the first
one will turn red, indicating that this one is used as a reference. Further clicks while holding down the
CTRL key will add/ remove other layers to/from the selection. You can move all selected layers by
dragging the reference layer (red border). Keyboard arrows and mouse scroll wheel work as well.

Right-clicking the selected layers will open a shortcut menu with the following commands:

• Align Left: Align left side and left side of reference.

• Align Center Horizontally: Set x-position to x-position of reference.

• Align Right: Align right side and right side of reference.

• Align Top: Align top side and top side of reference.

• Align Center Vertically: Set y-position to y-position of reference.

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• Align Bottom: Align bottom side and bottom side of reference.

• Mirror Horizontally: Set x-position to inverted x-position of reference.

• Mirror Vertically: Set y-position to inverted y-position of reference.

• Adapt Size: Set size to size of reference.

2.5.11. Source Options

The Source Options window is delegated by the background layer or layer selected within the Layers
window.

It shows the currently defined source options for this layer. Clicking in this window directly changes the
current background layer/layer source for program or preset.

Each layer and background layer can have its own number and order of sources.

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To change the source options for a layer, click the Edit button in the bottom toolbar.

In the pop-up window you can either create individual source options for the layer or select one of the 12
presets. When you create a new production, two presets (Scenes and Aux) are generated automatically
and assigned accordingly.

To change the source options, drag and drop sources from the right pane to the left one. For sources
you have arranged in group folders, you can alternatively assign the complete folder. This results in a
dynamic behavior: When you later add or remove sources from this group (in Global sources or Local
sources), the source options for all those layers are updated where the complete group was assigned.
Source options where the sources of the group were assigned individually remain unchanged.

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If the current assignment is a preset (visible by the gear icon in front of the preset name), the assignment
for this layer will be converted to an individual assignment.

You can store any individual assignment as one of the 12 presets.

To add an empty button as a separator, right-click the relevant position and select Insert >
...separator....

You can only change the order of individual sources and of complete groups. To change the
order inside a group, you need to change it in the group itself (in Global Sources or in Local
Sources).

2.5.12. Active Scene Trace

Introduction
The Scenes-Overview window gives you access to all available scenes and in combination with the
Layers window you can look into the details (layers) of any scene – but only one scene at a time.

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This window can also be used for active switching:
Clicking on a background layer while holding down the CTRL key toggles the program and preset
source.
Clicking on a layer while holding down the CTRL key toggles the layer state on/off.

When you look at a program output of the system, it can be a composite image consisting of layers of
several cascaded scenes, e.g. a title layer from the main scene, in the background a Chroma Key layer
from scene A and over the shoulder a scene B from Paris with a logo layer from that scene.

The Active Scene Trace window covers this situation. It traces the same output which is defined for the
Scenes-Overview window and displays all scenes and layers which are involved in this output. In the
bottom toolbar, you can decide whether you want to hide invisible layers or all layers and display scenes
only.

Another use of this window is to find illegal recursive loops.

Classic switchers normally block source selections that would cause recursive loops. E.g., selecting ME3
in PP, then ME2 in ME3 would still be ok. However, when you now try to select PP in ME2, this would not
be possible.

Since the number of logical sources and scenes in the Dyvi system is unlimited, it would sometimes be a
challenge to find out why a certain switching is blocked. Therefore, the switching is executed. In the
Active Scene Trace window, you can find in yellow where the recursive loop happens and correct it.

Windows Delegated by the Active Scene Trace

Window

Window Name Please refer to…

Layers "Layers" on page 45

Transitions "Transitions" on page 94

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2.5.13. Live Control

The Live Control window controls the output that is defined as trace output in the Scenes-Overview
window.

It behaves like a couple of cascaded scene crossbar sections of the control panel. It works by analyzing
the current source of the traced output.

• If it is a scene, e.g. scene A, the source options of the background layer are displayed in the left-hand
column.

• If the current source in the background layer of scene A is also a scene, e.g. scene B, the source
options of the background layer of scene B are displayed in the next column to the right.

• If the current source in the background layer of scene B is again a scene, e.g. scene C, the source
options of the background layer of scene C are displayed in the following column to the right.

A depth of up to five background layers is displayed.

2.5.14. Stage Control

The Stage Control window is delegated by the Scenes-Overview window.

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It only shows elements when a stage or a scene of a stage is selected. In this case, all available scenes
of this scene group are displayed, either in the form of a button or with the relevant thumbnails. The red
frame indicates the currently selected scene.

To change the size of the buttons or thumbnails, hold down the CTRL key while moving your scroll wheel
up or down.

Depending on your preference, you can set the fill order to left-to-right or top-to-bottom and define
how many rows or columns you want to display. Right-click any scene or click the pencil button to open
the shortcut menu which allows you to do this.

When using a touch screen, this can be a very handy touch ShotBox.

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2.5.15. ShotBox
With the help of the ShotBox window you can cut to any source of sectors (Scenes, Macros, Stages etc.)
that are added to your ShotBox window without using the control panel.

While the Stage Control window can only be used for stages, this is the real ShotBox for fast live
operation. In the lower part, you see the available delegations.

Possible delegations are:

• Outputs (SDI and IP, all source options)

• Multiviewer-Outputs (all source options)

• Scene Layers (all source options)

• Scene Selections for Stages

• Global Macros

• GUI Macros

• Scene Timelines

In Edit Mode, you can add or change your delegations.

The size of the buttons and the filling order on screen are completely adjustable to provide under all
conditions a layout that allows fast live operation with touch or mouse control.

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Right-click a button to open the following shortcut menu:

The system supports a maximum of 20 buttons per row/column.

2.5.16. Couple Control

In many productions there is quite often the need to adjust multiple objects in a composite image in
parallel. For example, you want to shift all four images of a quad-split a little bit to the left or you want to
reduce the opacity of all four images.

The Couple Control window offers you this option. Like the Scenes-Overview, the Active Scene Trace,
and the Live Stream window, it uses the trace output as basis. You can change the trace output with the
Change button in the top right of the window.

For best control you should choose a layout with simultaneous access to the Layers window, the Couple
Control window, and the Parameter Control window.

The layout could be like this:

To control parameters of multiple objects in parallel, select the relevant object in the Layers window. (in
the example it is the 2D Transform effect of the Layer DSK1).

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The Couple Control window now shows all objects of this type which are in the video path on the trace
output. By default, the selected object is used as the controlling one (shown in yellow). To couple other
objects to the controlling one, simply select their checkboxes.

You can change the controlling object by right-clicking another (green) object and setting it as the
controlling object.

Using the Fine Positioning in the Parameter Control window, you can move the controlled objects with
the controlling object, whilst keeping their relative position unchanged.

To keep the coupled controls in sync, you should use the incremental control of the sliders
(right-click and drag).

For 2D Transform positioning, the Fine Positioning pickup area is also incremental.

2.5.17. Macros
The Macros window displays all of the existing macros in a selected scene.

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Display Options
At the bottom of the window, there are different options to display macros.

• Vertical: displays the macros vertically.

• Horizontal: displays the macros in a horizontal order.

• Freestyle: displays the macros in the content of the frame.

Freestyle Functions
In Freestyle Mode, you can customize the position, size, and color of the macro buttons. By default, all
macros are drawn as gray buttons in a horizontal layout on a light-gray background, similar to the
Horizontal Mode.

To change the appearance, click the icon to enter edit mode.

This icon will turn green .

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The icon will switch the thumbnail for this scene to a background. You can grab a thumbnail from the
live stream in the Layers window (see "Layers" on page 45).

With the opacity slider you can adjust the opacity of the background thumbnail.

To position a button, simply drag it to the desired position. To resize a button, hover over it and drag one
of the corner handles. To change the color of a button, right-click it and select Change Color from the
contextual menu. Positioning and color change can be done for multiple buttons at the same time. To
select multiple buttons, either CTRL + click them or drag an area around the desired buttons.

Freestyle Mode is mostly used for dedicated, position-oriented macro buttons. Some other macros
which are only used in normal Vertical or Horizontal Mode would be disturbing buttons in Freestyle
Mode.

The icon opens a window where you can drag and hide these unneeded macros.

The icon resets the position, size, and color of the macro buttons to default.

To save these settings, click the icon, which will close edit mode.

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2.5.18. Timelines
The Timelines window displays all of the existing timelines in a selected scene.

Display Options
The vertical, horizontal, and freestyle display options are identical to the Macro display
options. For further details please refer to "Display Options" on page 112.

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2.6. Multiviewer Assignment Menu

2.6.1. Introduction
The Multiviewer Assignment menu offers you the possibility to view your sources in advance, to check
the Program and – if configured – Preset, and to preview transitions. You can freely configure the layout
of a multiviewer.

The current hardware supports up to two multiviewers per processing module.

A maximum of 32 “LowRes” inputs is possible for each PM’s multiviewer. If there is an

overload, multiviewer outputs added above 32 will be filled by black.

To check the level of resources used, open the pop up by right-clicking on the GPU resource
meter in the bottom left hand corner of the GUI.

2.6.2. Creating a New Multiviewer

In the Multiviewers pane in the top right corner of the menu, you can create new multiviewers. To add a
new multiviewer, do one of the following:

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1. Right-click the processing module the multiviewer is connected to and select Append New
Multiviewer… from the shortcut menu.

2. Click the + button in the toolbar at the bottom of the pane. Enter a name for the multiviewer, select
the processing module the multiviewer is connected to and click Add.

Depending on your license, you will be able to use up to 2 multiviewers. It is nevertheless

possible to configure several multiviewers per Processing Module in the GUI. They can be
made visible by moving them higher in the list.

2.6.3. Editing a Multiviewer Layout

Adding Outputs
Select any of the multiviewers from the Multiviewers pane.

The display size of the selected multiviewer is marked by the dotted area. The dots are used as snap
positions to provide easy aligning. To display these dots, activate the Snap button.

You can create outputs in three ways:

• Right-click inside the display area and select New Output… from the shortcut menu.

• Drag a source from the Sources pane into a free space of the display area.

• Drag a layout from the Layout Presets pane into the display area.

Dragging a source into an existing output changes the current source.

Layout presets are only used as a default start. You can drag the outputs to any position you want.

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A maximum of 32 “LowRes” inputs is possible for each PM’s multiviewer. If there is an

overload, multiviewer outputs added above 32 will be filled by black.

To check the level of resources used, open the pop up by right-clicking on the GPU resource
meter in the bottom left hand corner of the GUI.

Resizing Outputs
You can resize any individual output. To do this, left-click the appropriate output and move your scroll
wheel up or down until you obtain the desired size. You can also right-click the output and select the
desired zoom factor.

To change the size of all outputs, right-click any output and select Select All Outputs from the shortcut
menu. Move your scroll wheel up or down until you obtain the desired size.

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2.6.4. Shortcut Menu
Overview
If you right-click any output, the following shortcut menu appears. This menu will allow you to configure
some general multiviewer and output settings, and to perform actions both on single outputs and labels,
and on all outputs and labels present.

Common Multiviewer and Output Settings

The table below describes the menu commands related to the common settings in greater detail:

Command Description

New Output Adds a new output to the selected multiviewer. The new output will automatically
occupy the empty space that is left in the multiviewer display area.

Common Gives access to the settings which allow you to change the color of the multiviewer and
Multiviewer label background, the colors of the tally indication and the size of the labels.
Settings

Output Gives access to the settings which allow you to change specific parameters of an
Settings individual output or of all outputs. The following parameters can be modified: visibility of
audiobars, border, resolution mode, size.

MultiViewer Settings
The Multiviewer Background Color menu allows you to specify the color for the multiviewer background.

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The Tally Indication menu allows you to allocate different parts (Lamp A/B, Text and Border) of the
multiviewer to up to 32 tally systems with different colors.

Each multiviewer supports two individual tally colors. Define your colors here and assign them to the
tally systems you want to monitor.

Tallies can be indicated in four ways: two square areas right and left of the output label which are named
‘Lamp A’ and ‘Lamp B’, the color of the label text and the color of the border surrounding the output.

To choose which tally system is related to which form of indication, there are 32 systems of tally
existing.

The Label Background Color menu allows you to specify the background color for the output labels.

The Label Size menu allows you to specify the size of the output labels.

Output Settings
Select For All Outputs if you want your changes to apply to all outputs visible in the multiviewer display
area. Select For Selected Outputs if you want your changes to only apply to a selection of outputs.

Enable the option Show Audiobars to make audiobars visible in all or only in a selected number of
outputs.

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Enable the option Show Border to create a border around all or only a selected number of outputs.
When the border is activated, the output name and other information is shown inside the border. When
the border is inactive, this information is displayed inside the video image.

In the Resolution Mode field, select the desired resolution.

In the Size field, you can specify the size of all or a selected number of outputs.

The checkmarks turn to green when you change the relevant parameters.

Green checkmark: when you press OK, the changes for this parameter will be applied to all selected
outputs.

Red cross: when you press OK, the parameters will be restored to previous value.

Cancel will restore all parameters to the previous values.

Functions for a Single Output

The following actions can be performed on a single output:

Action Description

Reset Label Resets the position of a selected label to the default position (middle center below
Position an output).

Rename / Edit Allows to change the label text of the selected output.
Label

Rename / Edit Allows to change the name of the selected output.

Name

Remove a Removes the source from the selected output.

Source

Select a Source Allows selection and assignment of a particular source to the selected output.

Delete Output Deletes the selected output.

Output Type Allows definition of the output type for the selected output, e.g. CleanerFeed 1, 2, 3,
…

Note that when e.g. a layer is defined to be blanked in CleanerFeed 7 (setup in

Layers window), it will never show up on an output set to output type CleanerFeed
7, no matter via which path the layer reaches this output.

Configure Audio This menu allows you to select the desired audio channels for the display. You can
Bars also adjust the opacity, position, etc.

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Rename / Edit Label

If you select the option Rename/Edit Label, the following dialog box will appear:

You can enter a fixed text (which is always displayed) or combine the text with one or more variables.
The variables are dynamically replaced by text, depending on the selected source in the window.

By default, all labels are set to the variable $auto.

The following variables can be used:

• $auto

Stages will be displayed with the stage name and the name of the selected scene.

Example: “Stage1 (Opening)”

Sources with timecode will be displayed with the source name and the timecode.

Example: “Player1 (00:17:23:12)”

All other sources will be displayed with the source name.

Example: “Cam1”

• $bgd

Only the background source will be displayed.

Example: In a scene with different layers, only the background pictures name will be displayed.

• $scene

Only scene names are displayed. If the source is no scene and no stage, the display is empty.

Example: “Opening”

• $src

All sources will be displayed with the source name only.

Examples: “Stage1”, “Player1”, “Cam1”

• $tc

Only the timecode of sources is displayed. If the source does not have timecode, the display is
empty.

Example: “00:17:23:12”

If a label was changed to anything else but $auto, a right-click on the label offers you to
change it back to $auto.

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Select a Source
If you select this option, a dialog box will appear which will allow you to select the source that should be
shown on the output.

Another way to attach sources to outputs is to drag and drop them from the Sources pane to an output.

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Configure Audio Bars

This menu allows you to select the desired audio channels for the display. You can also adjust the
opacity, position, etc.

Functions for All Outputs

The following actions can be performed on all outputs:

Action Description

Reset All Labels to Sets the labels of all outputs of this multiviewer to the $auto variable.
$auto

Reset All Label Resets the position of all labels to a default position.
Positions

Remove Sources Removes the source from all the outputs.

From All Outputs

Select All Outputs Selects all outputs. Can be used to resize or position of all outputs at the same
time.

Delete All Outputs Deletes all outputs of a multiviewer.

Align To Green Moves multiple selected outputs to a part position of a reference output. It then
Reference offers to relocate the selected outputs subject to the selected green marked
output with the following options: Align Size, Align Center Horizontally, Align Right,
Align Top, Align Center Vertically, Align Bottom. The last selected output will be
the reference output.

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2.6.5. Source Options
Source options can be defined for any of the outputs. These sources can then either be controlled in the
GUI (in this menu) or via a multiviewer crossbar section on the control panel.

Click an output to delegate the pane. Now you see all available source options for this output.

To change the source options, click the Edit button in the bottom toolbar.

In the pop-up window you can either create individual source options for the mv-output or select one of
the 12 presets.

When you create a new production, two presets (Scenes and Aux) are generated automatically and
accordingly assigned.

To change the source options, drag and drop sources from the right to the left pane. For sources, you
have arranged in group folders, you can alternatively assign the complete folder. This results in a
dynamic behavior: When you later add or remove sources from this group, the source options for all
those layers are updated where the complete group was assigned. Source options where the sources of
the group were assigned individually remain unchanged.

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In the case that the current assignment was a preset (visible by the gear icon in front of the preset
name), the assignment for this layer will be converted to an individual assignment.

You can store any individual assignment as one of the 12 presets.

The Jump to Source Option Preset button enables you to manage the source option presets. Please
refer to "Source Option Presets" on page 212 for more information.

To add an empty button as a separator, right-click the relevant position and select Insert > Separator.

You can only change the order of individual sources and of complete groups. To change the
order inside a group, you have to change it in the group itself (in Global Sources).

2.6.6. Output Effects

You can drag multiple effects to a multiviewer output: e.g. Vectorscope, Waveform Monitor, Center
Cross, and Active Area.

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2.6.7. Snap

When Snap is enabled, the positioning of the outputs is limited to a grid. This allows easy horizontal and
vertical alignment of the outputs. For completely free positioning, you can switch off the Snap
functionality.

2.6.8. Changing the Priority of Overlapping

Outputs
When you create a layout with overlapping outputs, the priority is important. You can change the priority
of the outputs in the Multiviewers pane. Open the relevant multiviewer. The order of the outputs in the
list indicates their priority. Select the output whose priority you want to change and use the up and down
arrows to change its position in the list.

When Transparency is enabled, overlapping outputs are displayed with a fixed transparency.

2.6.9. Special Sources: LookAhead Previews

In the Sources pane, you find per panel two sources: NextTransition-Top and NextTransition-Bottom.
These sources show the LookAhead Preview image for the selected next transition in the upper and
lower transition module. See section "Multiple LookAhead Preview" on page 7.

2.6.10. Showing the Timecode

If you want to show a RAM recorder or external machine including its timecode, you have to use the
appropriate (direct physical) sources with timecode. Normal logical sources including these machines
will only show the video image.

2.6.11. Forcing High Res / Low Res

Information as to whether an mv-out is High Res or Low Res is displayed for each output. In ‘Auto’ it is
automatically selected, depending on the size and if the source is used in HR. This parameter can be
forced to High Res or Low Res.

The total number of HR signals entering a GPU is limited to 16, including the ones used in
compositing and for multiviewer Display. It is advised not to set more than 4 to 6 sources to
HR.

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2.6.12. User Presets

There are 16 User Presets available to store/recall specific arrangements of multiviewer outputs. They
include all the parameters of a multiviewer output (number of windows, sizes, positions, names, tally,
etc.).

Right-clicking one of the 16 User Preset boxes will allow storage or renaming of a preset. Note that only
the selected outputs will be stored (not all the existing outputs). Thus, this function can be used to
duplicate an existing output onto another one.

When you store a multiviewer preset, the Icon/Text button allows you to toggle between a text and the
graphical layout icon of the preset.

A left-click on a preset box recalls its stored content (if it has stored content, the box is green) on the
selected multiviewer output.

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2.7. Macros Menu

2.7.1. Introduction
The macro system of Dyvi is very flexible. Multiple macros can be played at the same time.

Besides executing simple commands, macros can also contain conditions to execute commands.
Depending on certain conditions, one or another group of commands can be executed. Commands can
wait for a certain condition, e.g. a specific timecode, and continue only then. The setup for these
powerful features is handled in the Macros menu.

The Macros menu can consist of five different panes:

• Macros pane

• Command pane

• Parameter Selection pane

• 2 Clipboard panes (Macros and Command)

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2.7.2. Macros Pane

The Macros pane shows the Global Macros folder, which contains all user-created subfolders/macros
and all scenes with their respective scene-macros. All macros can be played directly in the GUI or via the
control panel. For how the macros of a specific folder are assigned to the panel, please refer to "Panel
Assignment" on page 214.

LSM Integration with Dyvi

This functionality allows an LSM-VIA operator to trigger any function in a Dyvi production including
"Replay Wipes", Picture in Picture compositions, or animated timelines.

Macro Configuration
The names of the macros and the macro group should be manually configured in each Dyvi production,
as they are not currently created by default when creating a new production.

1. In the Dyvi GUI in the "Global Macros" folder, create a new folder called "LSM-VIA".

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2. Create 6 macros inside the folder and name them Macro01, Macro02 etc. These macros should be
configured in the Dyvi Gui within the Macro Edit section.

The macros will not show on the Dyvi Panel by default, but can be triggered by both the integrated
LSM-VIA as well as by other Dyvi macros or timelines in the Dyvi production.

How to Create a Dyvi Macro

To create a Dyvi macro, in the Dyvi GUI navigate to the Macros page, right-click on the LSM-VIA folder
and select insert > new Macro.

How to Edit a Dyvi Macro

To edit a Dyvi Macro, click Edit, then press Record and press the buttons on the Dyvi as required to add
commands.

CTRL + double-click will also open the Edit mode.

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As an example, to record a replay wipe, select the relevant wipe in the touch screen area on the panel to
associate it with the replay wipe macro.

When finished, press Record again to end the record command.

It is also possible to drag and drop parameters across from the Parameter Selection area into the
command list.

To open the Parameter Selection window click on the eye symbol and select Show Parameter
Selection.

Drag the required parameters across to position them in the list.

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More information about the Dyvi integration with LSM-VIA can be found in the EVS Application Note
"Light LSM-VIA Integration with DYVI".

For more details on how to edit and create Macros and Replay Wipes, please refer to the LSM-VIA user
manual and Dyvi Tutorial Videos on Vimeo, available at the following addresses:

Resource Address

LSM-VIA User Manual https://evs.com/en/download-area

Dyvi - Basic and Conditional Macros https://vimeo.com/316536704

Dyvi Replay Wipes https://vimeo.com/316545171

Recording Macros
There are different ways to record a macro:

• Record New Macro: Click Record New Macro to create a new macro. Actions performed on the
control panel and in the GUI are now recorded. Note that the new macro will always be inserted after
the currently selected macro. If a folder is selected, the macro will be inserted at the end of the list
within this folder. A Record New Macro will record a macro without time and this macro is
automatically selected in the Command pane, showing live the recorded commands. A second click
will stop the recording.

• Record: To record a new command within an existing macro, select a command line in the Command
pane. Click Record. Actions performed on the panel or GUI will be appended after the selected row.
To stop the recording click Record again.

• Record With Time: In certain situations, it can be useful to record different actions with time in
between. To achieve this, click Record With Time within the Command pane. Now, all commands
given on the panel or GUI will be recorded with the real delay between the actions. Later, these times
can be adjusted within the macro if necessary. To stop the recording, click Record With Time again.

Record New Macro will create a new macro while Record and Record With Time will change
the selected existing macro.

In all variations, the process of recording is indicated on the left side of the screen under the top-level
navigation bar.

Pressing this icon stops the recording of the macro.

Playing Macros
There are different ways to play a macro:

• Select the macro in the GUI and press play.

• Double-click on the macro.

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While the macro is playing, you can pause or abort it. When the macro is paused, you can continue or
abort it.

• A command within a timeline can play a macro.

• A macro can be triggered by GPI.

To define a GPI that should trigger a macro, right click into the line of the macro in the Triggered by
Gpi column to open the dialog. Select the appropriate GPI with a click.

Since multiple macros can be played at the same time, the current state of a macro is indicated to
the right of its name.

2.7.3. Macro Command Pane

Overview
To edit a macro, click the Edit button in the bottom toolbar, or CTRL + double-click to open Edit mode.
(A second double-click will close Edit mode.)

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In Edit mode, the Command pane shows the commands within a selected macro.

For the Command or Condition column, you can decide to display the full path of the objects (including
processing module) or just the object.

The Value column displays the current value of the command or condition.

The Delay column shows the delay per command in frames. For very basic use of the macro recorder,
you can decide to hide this column via a shortcut menu.

When a macro is paused on a user wait or a conditional wait, the command is highlighted in yellow.

Macro Recording Modes

When you record a macro, you can choose between two record modes:

• Record

Records the commands. The time between user actions is ignored. The delay is set to zero. If you
change the same parameter several times, only the last absolute value is recorded (e.g. after turning
a digipot). To switch to this mode, click the Record button.

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• Record With Time

In this mode, the time between user actions is recorded as well. If you change the same parameter
several times, all changes are recorded (e. g. switching different inputs). To use this mode, click the
Record With Time button.

When you start a recording for an existing macro, and no command is selected, the new commands are
appended. If a command is selected, the new commands are inserted after the selected one. This allows
fast modification for an existing macro.

The quickest way to re-record an existing macro from scratch is to press CTRL + A and then SHIFT +
Delete.

When you start a recording of a macro from the control panel, existing macros are cleared
automatically and the Record mode is used.

Displaying the Full Path

In the Command or Condition column, you can decide to display the full path of the objects (including
Processing Module):

or just the objects:

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To change this setting, right-click in the Command or Condition pad to open the dialog:

The middle column of the pane shows the current Value of a command.

Sophisticated Macro Editing

Selecting Multiple Items
The Command or Condition pane allows you to select multiple items. To select adjacent items, hold
down the SHIFT key and click the items. To select non-adjacent items, hold down the CTRL key and
click the items.

This way, you can move complete groups of commands up or down the list, set a common delay, update
to the current value, or delete them.

Inserting Items
You can insert Groups, Conditional Waits, etc. using the context menu or by clicking the + button in the
bottom toolbar.

Moving Items
You can move single or multiple commands from or into container elements like Groups, Loops, or
Conditional Groups using a drag-and-drop operation.

You can also move commands around using keyboard shortcut keys or via the Edit button (Cut, Copy &
Paste).

The Misc Context Menu

The Misc context menu contains a lot of special commands. You can access it by right-clicking a
command.

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Changing the Delay

When you change the delay of a command, you can enter the value either in milliseconds or in frames.
When you enter in milliseconds, the (rounded-up) frame value is set automatically. Clicking in the frame
edit field will set the milliseconds to the accurate frame value.

Update Command to Current Value

You can update a command automatically to the current value. Since you can select multiple commands,
you can update all commands of a macro with a single button press. This adds a behavior to macros that
was previously only common to snapshots!

Edit Value
When you manually edit a value, an Edit dialog box opens containing its related parameter(s). For most
parameter types, you have a Live Preview button at the bottom of the Edit dialog box. When active, you
can adapt your parameter changes visually (be careful: “live” means live…).

When you want to edit the value of analog XY- and XYZ-parameters, the Edit dialog box will
appear only displaying the numeric representation of the values. To control the values using
the slider, click on the arrow next to Position.

Create Same Commands for 35 MultiviewerOutp… of “Mv-Out02”

In the example it is the size of Multiviewer-Output 2, but it can be any parameter from any object like the
play command of a Ram Recorder, or the opacity of a scene-layer.

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The system will look how many objects of the same type are available next to the selected one. If e.g. it
would be the opacity of a scene-layer, set opacity commands would be generated for all other layers in
this scene. This automatic generation can save a lot of recording or drag & drop from the Parameter
Selection. If needed, update the newly generated commands to the current value.

Change “Mv-Out02” to Other MultiviewerOutput for This Command

In the example it is Multiviewer-Output 2, but it can be any object like a Ram Recorder, or a scene-layer.
If a macro was built for a specific object, you can change it to another object of the same type. A pop-up
offers you the possible selections.

Change “Mv-Out02” to Other Multiviewer… for Multiple Commands

This command is the same as the previous one, but additionally checks whether the object to be
replaced is also used in other commands and in other macros.

A dialog box gives you different options:

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Show / Hide Delays

When you work without any delays between the individual commands, you can hide this column to have
more screen space for the actual commands.

Show Object Only / Show Object & Path

Especially when your system consists of multiple PMs, it can be useful to show the full command path,
including the processing module.

• Show object & path

• Show object only

Recorded macros only consist of absolute commands. For analog commands, you can change this to
relative commands. Select the appropriate command. On the bottom toolbar, for absolute commands
the Set button is selected.

You can now change it to increments or to decrements.

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Restoring Commands for Missing Objects
In a production you can encounter macro commands as illustrated below:

This can happen when the object for which the command controls was deleted after the macro had
been created or when you copy a macro from another production and the controlled object does not
exist in this production. To select a new object for the command, right-click the command and click
select a Layer-object for this command.

The popup window offers all objects of the same type which can be used for replacement.

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When you click Ok, the systems checks whether this specific object is also missing in other macros and
offers you the choice:

You can change a command to another similar parameter by selecting Misc.

As before, the popup window offers all objects of the same type which can be used for replacement.

By right-clicking a command and selecting Misc, it is also possible to Update Command to Current
Value, or simply Edit Value.

Special Elements
Besides normal commands, the Macro Editor supports the following elements:

• Group • Conditional Group (execute if…)

• Loop • Conditional Group (execute if…else…)
• Wait • Conditional Wait (continue if…)
• User Wait

All of these elements can be nested to create a hierarchical structure.

Group
This element can be used to make a macro with a large amount of commands easier to read. Put a
number of commands which perform a logical action into a group, give it a descriptive name and
collapse it to one line. It also helps with clipboard operations (see below).

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Loop
All commands inside this loop are executed several times (loop count). When the loop count is zero, it is
an endless loop. An application for an endless macro could be: Run a macro endlessly, waiting for
condition A, when true execute command group A, run until condition B, when true, execute command
group B, then loop back to condition A, and so on…). To avoid running endless loops blocking the
complete system, the number of executed commands per frame is limited to 100.

Wait
This element waits a predefined number of milliseconds or frames.

User Wait
This element pauses the macro and waits for a user button press to continue.

Conditional Wait (continue if…)

This element pauses the macro until a certain condition becomes true. This can be e.g. a machine
reaches or leaves a specific timecode, a layer is switched to a certain source or is faded in or out, etc.

For information on how this condition is set, please refer to "Parameter Selection Pane" on page 143.

Conditional Group (execute if…)

This element acts as a command container just like the normal Group element, but the commands inside
are only executed when the condition is true, otherwise they are ignored.

Conditional Group (execute if…else)

This element is an expansion to the Conditional Group if. It offers an extra “else” group which is executed
when the “if” condition is not true.

For information on how this condition is set, please refer to "Parameter Selection Pane" on page 143.

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2.7.4. Parameter Selection Pane

Overview
The Parameter Selection pane displays the parameters of all objects in your productions from which you
can create macro commands.

To open this pane, switch to Edit Mode in the Macros pane, click the eye button in the bottom toolbar,
and finally select Show Parameter Selection.

The Refresh button refreshes the list of parameters in the Parameter Selection pane.

Navigating the Parameter Selection Tree

You can navigate the tree view in two ways:

• Manual Mode

Open the desired structure and dive in as deep as you need. For example, PM2 / Stage1 / 2Box /
RightBox.

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• Follow Scene Mode

When this button is enabled, a click on a scene in the Scenes pane automatically opens the tree for
this specific scene.

If Single Expand is selected, opening a new path automatically closes the previously opened one. Thus,
you can keep a better overview especially in large productions.

Creating a Command or Condition

When you drop a parameter on a Conditional Group, a popup offers you different options:

Depending on the type of command, you can change the command type from an absolute command
(Set) to an incremental command (Incr/Decr), allowing a macro to e.g. change a 2D position in small
steps.

Depending on the type of condition, you can have up to six comparison operators. The relevant toolbar
buttons show the mathematical symbols. When you are not familiar with those symbols, hover the
mouse pointer over the button and a tooltip shows you the name of the operator.

2.7.5. Clipboard Macros Panes

The Macros menu also supports clipboards. There is a clipboard for macros and a clipboard for
commands. These clipboards work independently from the generic clipboard of the GUI.

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To enable these clipboards, click the eye button in the bottom toolbar of the Macros pane and select
Show Clipboards.

You can drag and drop complete macros from the Macros pane to the Clipboard Macros pane. This can
be useful when you want to compare the content of two macros in your production.

To easily exchange commands between two macros, select the first macro in the Macros pane to view
its list of commands in the Command or Condition pane. Select the second macro in the Clipboard
Macros pane to view its list of commands in the Command Clipboard pane. You can drag and drop single
or multiple commands between the two panes.

The Clipboard Macros pane can also be used to copy macros between the Global Macros and GUI
Macros.

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2.8. Timelines Menu

2.8.1. Introduction
Every scene can have one or more timelines to modify the parameters of this scene.

The basic Timelines menu shows two panes.

• In the Stages/Scenes pane on the left you can see all available scenes in your production. Next to the
name of each scene the number of available timelines for this scene is displayed in brackets.

• The Timelines pane on the right shows the individual timelines for the selected scene. Multiple
timelines of the same scene can play in parallel. The play mode can be Normal, Reverse, Loop or
Bounce. In the bottom left corner of the Timelines pane, the selected timeline can be played,
stopped, etc. via the common tape motion command buttons.

To create new or modify existing timelines, press the Edit button on the bottom toolbar of the Timelines
pane, or double-click the desired timeline.

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Four additional panes are opened to provide the necessary editing options.

The following panes will be described in greater detail below:

• Parameters: Scene….

• Define Parameters

• Tracks (tree view)

• Tracks (graphical view).

2.8.2. Creating a New Timeline

Timelines in the Dyvi system are ‘parameter transparent’, which means you can define per single
parameter whether the parameter should be touched in this timeline or not.

When you build a new timeline, you can drag and drop each individual parameter you want to touch from
the Parameters: Scene… pane into the Define Parameters pane. For only a few parameters, this works
fine.

If you want to build a timeline that controls a complete layer with all its effects, it is faster to drag and
drop the complete layer. In this case, all involved parameters are monitored for a change and the
changed parameters are inserted in all keyframes.

When you start a new timeline, you have the choice between Auto Mode which monitors all parameters
of the scene or Manual Parameter Selection which allows you to drag and drop only dedicated
parameters to the Define Parameter window. This is just a start and you can at any time change the
number of monitored/used parameters.

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2.8.3. Parameters: Scene… Pane
This pane shows all the layers and effects of the selected scene with all timeline-controllable
parameters. If available, parameters of local sources are also displayed. Drag and drop individual
parameters or complete layers, effects or even the complete scene into the Define Parameters pane to
have it controlled by the timeline. (When you created your timeline in Auto mode, all scene parameters
are already dropped into the Define Parameters pane for monitoring.) When you drag and drop
parameters (single or multi-selection via CTRL + click), these parameters are directly inserted into all
keyframes. When you drag and drop objects, the parameters and all parameters of child objects are
monitored and will only be inserted into keyframes when the parameter changes.

When the Follow button is active, the selected parameter from the Define Parameters pane is
automatically opened and displayed – and is highlighted in yellow.

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2.8.4. Define Parameters Pane

This pane contains all parameters that are controlled or monitored for a change in this timeline. Since the
number of controlled parameters can be large in complex timelines, there are two display modes.

When Flat mode is inactive, the parameters are shown in their complete environment, e.g. the position
parameter of the 2DTransform effect of the layer ‘right’. The number between brackets in front of the
parameter name, in this example (2), is used as a reference number to identify different parameters with
the same name in windows with Flat mode.

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In Flat mode, only the parameters are displayed. This mode gives a more compact overview of all
controlled parameters. The disadvantage of not seeing the parameter environment can be compensated
when you enable the follow button in the Parameters: Scene… pane. When you now select any
parameter in the Define Parameters pane, the Parameters: Scene… pane will show you the relevant
environment.

In Active Only mode, only edited parameters will be displayed.

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2.8.5. Defining Parameters for Timeline Control

There are two ways you can add parameters to the Define Parameters pane:

• If you know exactly which parameters you want to control in your timeline, drag and drop the
parameters from the Scene Parameters pane. When you drop the parameter, you can drop it on any
object or parameter of the desired track, it will be automatically inserted at the correct position.
These parameters will be directly included into the timeline.

• When you drag and drop objects into the Define Parameters pane, the parameters of the object and
all its child objects will be monitored for change. When you start your timeline with Manual
Parameter Selection and you then drag and drop the complete scene into the Define Parameters
pane, you have the same situation as if you had started your timeline with Auto mode. When
parameters are monitored, any change of them will mark them for insert with the next Insert/Modify
Keyframe command. In this case, the new value of the changed parameter is used for the newly
inserted or modified keyframe, for all other keyframes the “old” value is used. You can force a
monitored parameter to be inserted into all keyframes, even without being changed, by a right-click
and Add Parameter to all Keyframes.

The pane could look as follows:

Parameter Description

This parameter is included in the timeline.

This parameter is changed and will be included in the timeline with the next
Insert/Modify Keyframe command.

This parameter is monitored for change.

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The following rules apply:

• Parameters can only be inserted in one track.

• Deleting a parameter from the Define Parameters pane removes it from all keyframes.

• If parameters are added to the Define Parameters pane (because they were monitored and you
changed the value now) while keyframes already exist, an Insert/Modify Keyframe command will
add these parameters also to the existing keyframes. The value used is the one before the change.

The Active Only button is only visible when the Define Parameters pane contains parameters that are
monitored but not yet included in your timeline.

You can remove monitored (unused) parameters at any time from being monitored by a right-click on
any object that contains parameters, e.g. an effect, a layer, or the complete scene. Dragging and
dropping the removed objects into the Define Parameters pane will start monitoring them again.

The shortcut menu gives different options, depending on which column you click.

To change parameters in the Timelines menu you have two options:

• In Define Parameters you can change individual parameters via a right-click on the value.

• In Parameters: Scene… you can open the Parameter Control window via a right-click.

2.8.6. Tracks (Tree View) Pane

In this pane, you can see all parameters of all keyframes simultaneously, including the parameters'
parent objects. The information can be displayed in different modes.

When Flat mode is not activated, all parameters of all keyframes are displayed, including their parent
objects.

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For larger timelines with many keyframes and many parameters, it is difficult to keep the overview.

Click Flat to only see the parameters without their parent objects. Objects to which the parameters
belong are not visible. This function is only visible when Follow is turned off.

The numbers in brackets in front of a parameter in the Tracks window are useful in Flat mode. They refer
to the same numbers in the Define Parameter window.

Probably the best choice for larger timelines is the Follow mode.

Only the parameter selected in the Define Parameters pane is displayed.

The shortcut menu gives different options, depending on which column you click.

• KF +/- steps through the Keyframes only forward or backward.

• Obj +/- steps through all objects like Keyframes, hold times, user waits, and commands.

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2.8.7. Tracks (Graphical View)

This pane shows all tracks of a timeline with all respective keyframes, hold times, user waits, etc. in a
time proportional, graphical display.

The zoom factor of the display can be adjusted:

• CTRL + scroll wheel zooms horizontally the time axis.

• SHIFT + scroll wheel zooms the vertical direction.

Clicking on an object (keyframe, command, user wait, etc.) selects the object and positions the cursor
accordingly. Holding down the left mouse button positions the cursor to the clicked position. Now you
can drag the cursor to any position you want.

When you select a parameter in the Define Parameters pane, this parameter is displayed, including the
curve type of the interpolation.

For parameter interpolation between keyframes the following rules apply:

• Every parameter has a default curve type (analog parameters: linear) which is used when nothing
else is specified.

• To change the default, you can add a curve type in the Define Parameters pane.

This curve type is then applied to all keyframes.

• You can override the curve type per keyframe. In the example above the curve type Spline is set in
the Define Parameter pane. Keyframe KF-4 has the curve type overridden with SLinear (indicated in
yellow).

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Besides the shortcut menu, where you can create and modify all timeline objects, you can change the
duration of keyframes and hold times by holding down the SHIFT key and click & drag the relevant
keyframe or hold time.

A popup shows you the total timeline duration, the duration of the current track and the current object,
allowing you an easy adaptation of a track length.

When a “zero-time” object is selected (user wait, command), a column at the right side of the display
shows all objects at that specific cursor time. When the selected object is a command, a command line
similar to the one in the macro editor is shown at the bottom of the display. At that time the Parameters:
Scene… pane changes to the Command Selection pane and displays the available command options. To
select a command for the command object just click the command in the Command Selection pane.

Commands such as keyframes can be inserted directly into the timeline, or they can be inserted into a
keyframe, which couples them to the keyframe. The time position is in this case relative to the keyframe.
To change the offset to the keyframe, you can either change the value in the bottom command line or
you click the command while you hold down the SHIFT key and drag it. The offset is displayed during
this operation.

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2.8.8. Multi-Track Edit

This popup window can be opened via the button or directly via the Multi Track Edit button.

It allows insertion of keyframes and hold times into multiple tracks simultaneously.

The positions of the time cursor define which object per track is used as reference for Insert Before,
Insert on Path, Insert After, etc. In every Track button of the Multi Track Edit window the currently
active object is indicated.

In the Tracks (Graphical View) pane, the active objects are displayed in red. The active tracks for
Insert/Modify commands are highlighted.

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2.8.9. Changing Keyframe Parameter Values

You can change your keyframe parameters in two ways:

How to Change Keyframe Parameter Values (classic method)

1. Open the relevant keyframe.

2. Change the parameter in the Define Parameters pane.

3. Modify the keyframe.

How to Change Keyframe Parameter Values (new method)

In the Tracks (tree view) pane you can see and access the parameters for the individual keyframes at
any time (in Follow mode you only see the parameter selected in the Define Parameters pane). You can
even change the values while the timeline is running (e.g. in loop mode). To see the changes in live video
while the timeline is in Pause mode, you can switch on the Live Preview button. In this state, you will see
the result of your changes at any position you drag the time cursor to.

A right-click will open the popup change dialog:

When copying/pasting a Scene within a Stage, timelines need to be recreated, as they may
carry forward illogical links which can cause problems.

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2.9. RAM Recorders Menu

2.9.1. Introduction
The RAM Recorders menu allows you to organize clips and stills you will need for your production.

Most of the common image formats as well as video files with integrated audio are supported.

For more detailed information see section "Recording Sources" on page 161 or "Still Import-Export Menu"
on page 173.

Each processing module offers 8 RAM recorders that can be loaded with clips that are loaded in the Clip
Pool. Depending on the installed licenses, the Clip Pool has a capacity of 24 GB of data that can be used
per production. The Still Pool that can contain 100 stills per production.

Each processing module has its own clip pool.

The still pool is located on processing module 1 and accessed from all processing modules. Each
processing module can show up to 10 different stills of this pool at the same time.

The RAM Recorders menu gives access to the following submenus:

• Control

• Clip Import-Export

• Clip Load-Save

• Still Import-Export

• Still Load.

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2.9.2. Control Menu

Overview
Clips loaded in a production can be assigned to a RAM recorder channel and afterwards controlled in the
Control menu.

The RAM recorders can load clips from the local processing module. A thumbnail of the loaded clip is
shown at the left side of the control.

The available RAM recorders are grouped in tabs. To access RAM recorders 5 to 8 or more, open the
relevant tab.

If the show clips button is lit, the right part of the menu shows the clips available in the Clip Pool.

You can adapt the thumbnail size with SHIFT + scroll wheel and the font size with CTRL + scroll wheel.
To reset the font and thumbnail size to the default size, double-click the title bar of the Clip Pool pane.

To feed a RAM recorder channel with a clip, drag and drop it from the Clip Pool to the relevant player.

To unload a clip from a channel, right-click the appropriate RAM recorder and select unload clip.

To change the content of a RAM recorder, just drag and drop a new clip to switch.

NO IMAGE means that the RAM recorder has no clip assigned.

CLIP NOT AVAILABLE means that originally a clip was assigned in the production, but the clip is no
longer present in the Clip Pool.

RAM recorders support standard tape motion commands and three play modes: Normal, Loop, and
Bounce.

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To set an In and Out point for a clip, click Mark In and Mark Out respectively. To quickly navigate to
these timecodes, click Go To Mark In and Go To Mark Out respectively. To edit the In and/or Out point,
click the Trim button.

During a production load, the timecode of clip positions like Mark In and Mark Out are
converted according to the current video standard. This ensures that the VTR tape motion
commands will result in identical positions within the clip independent of the video standard.

A blue progress bar indicates the position in the clip and the playing direction.

Ganging Channels
To use RAM recorders in a synchronous way (e.g. for video & key), it is possible to gang them.

There are two ways to open the Gang Dialog:

• Right-click the control area, e.g. the timecode display. The border of the selected channel turns blue.
In the shortcut menu, select Open Gang Dialog.

• Click the Gang button in the bottom toolbar.

A dialog box appears which allows you to create different gang groups.

To create a new gang group, click the Insert New Gang Group button. A default GangGroup is added.
Select it and press F2 to rename it.

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To add one or more RAM recorders, select the newly created gang group, and then click the appropriate
RAM recorders in the RAM Recorder pane to the right. Their name will appear in the Ganged RAM
Recorders column.

If a RAM recorder is about to appear in two gang groups, the following warning will pop up to avoid a
conflict between the ganged RAM recorders.

Clicking OK will remove RR7 from the Replay gang group and add it to GangGroup-2.

Recording Sources
It is possible to record a source in a RAM recorder. Click the Record Length button to open the following
dialog box.

Select Source to get the source that you want to record.

The input video you want to record into the RAM recorder needs to be in same video standard as the
current Dyvi production standard.

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Each channel of the RAM recorder can be used as delay line. The amount of available delay depends on
the free RAM of the clip pool.

After a production load, it can take some time until new clips are loaded from the hard disk into
the Clip Pool. While a clip is still transferring, it cannot be loaded in a RAM recorder.

2.9.3. Clip Import-Export Menu

Overview
The Clip Import-Export menu is used for managing clip transfers between locations on the Hard Disk GUI
(left pane) and Hard Disk PM (right pane).

In all panes, you can adapt the folder size with SHIFT + scroll wheel and the font size with CTRL + scroll
wheel.

To reset the font and thumbnail size to the default size, double-click the title bar of the Hard Disk GUI
pane, Hard Disk PM pane or Clip Pool pane.

To reveal the folder tree structure in either the left or right window, click the button at the bottom of
the relevant pane. Contrary to the standard Windows Explorer where the main part only shows one flat
level (folders and files), in the main part of these panes folders can be opened as well. A double-click on
a folder enters to this level and the top folder with the double dot name allows you to navigate one level
up. This behavior is known from Linux systems. Changes made here are reflected in the folder tree
structure.

Clips are displayed in two different ways:

• Green: the clip consists of single frames

• White: the clip is one file

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Since clips consisting of single frame files are for better overview displayed as one item only, you can
switch to raw mode to show the real files structure on the disk.
This function is available in both panes. You can drag and drop files with one pane set to raw mode and
the other in normal mode. The system will handle this accordingly. When transferring single frame files in
raw mode you should be careful to transfer ALL files which belong to that clip. Otherwise the transferred
clip will miss some frames.

Rule for combining single files to one clip:

The files must start with the same name, followed by a number of digits as an index, followed by the file
extension.

The example above shows:

Blur00000.png
Blur00000.png.wav (only if audio is included)
Blur00000.png.xml (metadata-info, only generated for exported clips)
Blur00001.png
Blur00002.png
Blur00003.png
Blur….

Blur0000.png
Blur0000.png.wav
Blur0000.png.xml
Blur0001.png
Blur0002.png
Blur0003.png
Blur….
This would be a separate clip.

Hard Disk GUI (left pane)

This browsing location can be a storage medium on any computer in the network, e.g. a USB stick
plugged into the GUI computer.

Root Location for the Directory Structure

To change the root location for the directory structure, click the folder button in the bottom toolbar.

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The following dialog box will open:

By default, the dialog box opens in Details view, i.e. the view which displays directories and files in the
form of a grid. More detailed information about each directory and file (like size, type) is shown. To
switch to List view, i.e. the view which displays the directories and files in the form of a list, click the
corresponding button in the top right corner.

Move your scroll wheel up or down to scroll vertically through the list. Move your scroll wheel up or down
while holding down the ALT button to scroll horizontally through the list.

Note that the Browsing Location window will only show clips with a format which the system can handle.

Creating New Directories

It is possible to create new folders within the left pane to organize your clips. Do one of the following:

• Right-click the directory where the new directory should appear and select Create Directory. When
you right-click a folder, the behavior differs whether you click on the folder name or on the empty
space behind the folder name:

◦ Right-clicking on the name creates the new folder INSIDE the current one.

◦ Right-clicking behind the name creates the new folder at the same level as the current one. In
any case, the popup dialog shows you the new folder position.

• Select the directory where the new directory should appear and click the Create Directory button in
the bottom toolbar.

A dialog box appears which allows you to enter a name for the new directory. Click Accept to create the
new directory.

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Transferring Clips to the Processing Module

To transfer a clip from a directory on a storage medium to the hard disk of a processing module, select
the appropriate processing module and do one of the following:

• Right-click the clip and select transfer to PM-HDD.

• Drag and drop the clip(s) from the left to the right pane.

You can either select multiple clips or select a folder with subfolders. In this case, the complete folder
structure will be copied to the PM. As source and as destination you can drag and drop from/to the main
part or from/to the folder tree structure.

When you drag folders or clips a popup info shows the number of folders and clips.

The clips from the Hard Disk GUI pane are transferred in their original format to the hard disk of the
processing module.

The transfer of multiple files is scheduled. Right-click in the scheduler list allows you to change the order
of transfer or remove scheduled clips.
While the right-click popup is open, the transfer is paused.

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Refreshing the Content of a Directory
To refresh the content of the Hard Disk GUI list, click the Refresh button in the bottom toolbar.

Hard Disk of PM (right pane)

This is the hard disk of the processing module. If you are working with a system with 2 or more
processing modules, you can switch between the different processing modules by clicking the
corresponding buttons at the top of the pane (PM1, PM2,etc.).

Clips can be sorted by file type, length or resolution.

The clip transfer from the Hard Disk PM to the Hard Disk GUI pane is performed in the same way just in
the opposite direction.

You can move clips or complete folders on the Hard Disk PM by cut & paste them.

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2.9.4. Clip Load-Save Menu

Overview
The Clip Load-Save menu allows you to transfer clips from the hard disk of a particular processing
module to the Clip Pool of this PM for a particular production.

Hard Disk of PM (left pane)

This is the hard disk of the processing module. If you are working with a system with 2 or more
processing modules, you can switch between the different processing modules by clicking the
corresponding buttons at the top of the pane (PM1, PM2, etc.).

Clip Pool of PM (right pane)

In each processing module, there is reserved memory for the RAM recorder. The blue bar in the top right
corner of the Clip Pool pane indicates the total amount of capacity available and the amount of free
capacity expressed in number of recordable frames or time. Click the bar to switch between the two
presentation modes.

The total number of recordable frames depends on the video standard.

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The following table indicates the total frame count and the approximate total duration for the different
supported video standards:

Video Standard Total Frame count Length (in seconds)

720p50 8726 174

720p59 8726 145

1080i50 3992 159

1080i59 3992 132

1080p50 4300 86

1080p59 4300 71

Transferring Clips to the Clip Pool

To transfer clips from the hard disk to the Clip Pool of a processing module, simply drag and drop the
appropriate clips.

The Clip Load-Save menu only allows you to transfer clips between the hard disk and Clip Pool
of the same processing module.

During transfer to the Clip Pool, the clips are converted to uncompressed rgb-video, allowing next frame
access.

The blue bar indicates the progress of the transfer.

Already transferred clips are indicated in white. Clips waiting to be transferred are marked in yellow with
the word scheduled.

To load clips from the hard disk of one processing module into the Clip Pool of another processing
module, first transfer them to the hard disk of this processing module using the Clip Import-Export
menu. See section "Clip Import-Export Menu" on page 162.

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Setting the Import Mode

The import mode settings change the way clips are imported into the Clip Pool.

Each of the two export modes describes individual behavior for:

• clips which consist of individual files per frame/field

• clips which consist of one file.

Single frames as fields / do not adapt clip length

The clip consists of individual files (possible file formats are *.tga, *png, *jpg, etc.):
The individual files are considered as fields.
With video standard 1080i50 100 single files will result in a clip length of 2 seconds.

The clip consists of one single file (possible file formats are *.mov, *.mp4, etc.):
If the clip is internally a 60Hz standard with a length of 10 seconds and your video standard is 1080i50,
the imported clip will have a clip length of 12 seconds.

Single frames as frames / adapt clip length

The clip consists of individual files (possible file formats are *.tga, *png, *jpg, etc.):
The individual files are considered as frames.
With video standard 1080i50 100 single files will result in a clip length of 4 seconds.

The clip consists of one single file (possible file formats are *.mov, *.mp4, etc.):
If the clip is internally a 60Hz standard with a length of 10 seconds and your video standard is 1080i50,
the imported clip will be adapted accordingly to a length of 10 seconds.

If "Do not adapt clip length" is selected for clip import, the clip's length will change if the
original clip was recorded at a different frame rate. The clip's video will then be run at the
current processing frame rate.

Audio will not be resampled or scaled, so depending on whether the clip's original frame rate
was slower or faster than the current processing frame rate, the clip's audio tracks will be cut
off at the end (if the clip's original frame rate was slower) or muted at the end (if the clip's
original frame rate was faster).

• Example 1. processing frame rate: 50fps, clip frame rate 25fps, 100 frames (4 seconds)

The clip will be played back in 2 seconds, and the second half of the audio is missing.

• Example 2. processing frame rate: 50fps, clip frame rate 100fps, 100 frames (1 second)

The clip will be played back in 2 seconds, and the second half of the audio (after 1 second)
is filled with silence until the clip ends after 2 seconds.

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Setting the Export Format
You can decide in which format a clip should be exported from the Clip Pool.

The Dyvi file format has the advantage of being lossless and reduces the reloading time of a clip
immensely. It is the ideal format for saving elements that will be reused in later productions.

Depending on the export format, you will get different codec possibilities for video and audio. The
default parameters will give you the best result.

2 different flavors of the Dyvi codec can be selected:

• Deflate, for medium compression.

• Plain. The compression process is quicker, but results in bigger files. This is the best format to save
on the Hard Disk of a processing module for faster complete production load.

Show Load Order

If you activate the show load order option, you will be able to see the order in which the clips will be
loaded from the system. Two arrows will appear next to the button to change the load order. This allows
you to have clips you need already in the beginning of the production to be loaded first.

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Audio Support
The RAM recorder supports embedded audio. You can either record a source which contains audio, or
you can import a video file with audio, e.g. a *.mov file. Audio-only files are not yet supported in the
current software version.

Files of a format *.mp4, *.mov or *.Dyvi have embedded audio files. Files that consist of single frames
have to have included a sound *.wav file with the same name of the first frame including the ending (e.g.
[name]0000.png.wav).

If sound is included at a connected SDI-input, it will be automatically recorded.

The RAM recorder now does support audio, also with ReversePlay and Step+-. The number of channels
going transparent through the RAM recorder however is limited to CH1....CH8.

The RAM recorder supports .mp3 and .wav as valid audio files, which can be imported from PM HDD into
PM Clip Pool. The clip video part shows then black.

Failed Clip Transfer

At production load, the system tries to load the Clip Pool with the same clips the production was saved
with. If a clip used in the production in the meantime was deleted, moved, or renamed on the hard disk of
the PM, the Clip Pool lost the reference path and the clip is indicated red with the remark transfer
failed!.

It is also indicated in the Control menu that the clip is not available and cannot be loaded in the RAM
recorder.

Deleting the failed clips in the ClipPool and re-importing them is not the best choice.
This will create new objects and e.g. macros which loaded the clips into a RAM recorder channel will no
longer work (even if the clip name is the same!).

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It is better to relink the failed clips to the relevant files on the Hard Disk PM. Drag & drop a failed clip to
the new position or renamed clip. When you move the clip over the clips on the Hard Disk PM, the
system compares the clip name with the clip name on the Hard Disk PM. If the name is different and you
drop the clip here, the system assumes renaming and the clip name and path of the clip in the ClipPool is
adapted.

When the name matches (this is indicated by the info “CLIP FOUND”), the system assumes a clip move
or folder rename and the path in the ClipPool is adapted.

In this case this location is checked with all other failed clips. If more failed clips are found in this path a
popup gives the option to relink all these failed clips by one click.

After you have relinked the failed clips, save your production with the adapted paths and reload it.

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2.9.5. Still Import-Export Menu

The Still Import-Export menu works in a similar way as the Clip Import-Export menu. See section "Clip
Import-Export Menu" on page 162.

The left pane displays the stills on a hard disk of the GUI or on an external storage device. The right pane
shows the stills loaded in the processing module.

Contrary to the RAM clips, where each processing module loads the clips from its own hard disk, the
stills for all processing modules are loaded from the hard disk of the main unit. This means the same stills
are available on all processing units.

Invalid files and images larger than 8K are not supported.

2.9.6. Still Load Menu

In the Still Load menu, you can drag and drop stills present on the Hard Disk PM1 (left pane) to the Still
Pool (right pane). In a multi PM system all processing modules load their stills from that pull. Each PM can
display a maximum of 10 different stills out of this pool simultaneously.

You can adapt the thumbnail size in all windows with SHIFT + scroll wheel and the font size with CTRL +
scroll wheel.

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If a still was not found on the processing module while loading a production (due to e.g. deleting,
moving, or renaming), it is indicated in red that the transition failed.

The stills you added to the Still Pool, will also appear in the Stills folder of the Physical Sources tab. They
will be displayed in the order you added them. See section "Global Sources" on page 191.

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Only supported image formats can be transferred from the Hard Disk GUI pane. They are transferred in
this format to the Hard Disk of the main processing module. If an Alpha channel is included in the image,
it will be used for image processing.

For any given production, 100 stills can be transferred to the Still Pool. The blue bar at the top of the
pane indicates the total number of stills and the number of stills that can still be transferred.

If a still is deleted from the Still Pool, but still appears in the Global Sources menu, the Physical Sources
column will indicate that no corresponding file exists.

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Failed Still Transfer
In the same way as clips, stills can also be relocated.

The failed stills are indicated in red. To relocate them, drag and drop them from the right pane to the
appropriate still in the left pane.

If more than one still is found in the same folder that can be relocated due to failed transfer, a pop-up
window will ask you to relink all stills.

Dragging and dropping a still that failed to transfer to another still will replace this still, instead
of loading it to the same path.

After relinking, you have to save and reload the production.

Still Reload
It is possible to perform a clean live reload for one or several of the 100 stills in a production.

It is first necessary to re-send the changed still or stills with their original name(s) to the PM
Hard Drive location for which the Still was previously transferred from into the DYVI
Production Stills cache.

By running Reload on any one or more stills shown in the Physical Stills folder, Dyvi will rescan the
internal Hard Drive and once again transfer these stills into the GPU RAM.

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To reload any still, in the Still Load menu right-click on the chosen still and select Reload Still to Ram.

This will also update any logical still sources pointing at that physical still or stills.

The Reload command can also be recorded into a macro, which can be used to refresh any of the 100
stills simultaneously.

There is also the possibility to select an "auto-update" mode which automatically reloads a still
whenever a file transfer of its source file has finished. This setting is per individual still image and
disabled by default. The setting is stored in the production file.

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2.9.7. FTP Transfer of Clips and Stills
It is possible to transfer both stills and clips into the PM using FTP. This can be done with an external FTP
client such as FileZilla.

The FTP server port on the PM is 10021.

Protocol Level FTP

If you want to integrate automated uploads into your own automation system, the following sample
session describes what you have to do.

The PM can be accessed by using the FTP protocol (RFC 959), using port 10021 (instead of port 21, as
specified in RFC 959).

Below is an example session (the text in red should be modified as appropriate by the user. The
password is not displayed/echoed. It is shown here solely for illustration purposes).

If /Stills/TEST.jpg already exists and a still of exactly this name is already loaded when autoreload is
active, the image will be reloaded and shown in the video path immediately.

When uploading, you can rename the image:

put <sourceNameLocal> <destNameRemote> (as shown above). If only one argument is given for ‘put’,
the names will be the same.

Rather than using the console-based text client, you can also use GUI clients, like FileZilla. Do not forget
to change the port to 10021 there.

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Dyvi GUI File Transfer

The Dyvi GUI also includes a graphical FTP client. The port and other settings (like binary mode) are
automatically set up.

You can select an image (or a group of images) in the 2nd column from the left and drag it to the right-
hand column.

The source and destination file names must be identical to be able to trigger an auto reload.

Dyvi GUI File Load

You can reload a still by simply loading it again. This also works for a selection of stills. The still has to be
dragged from the center column into the right-hand column.

The auto reload functionality does not always work with all connected external units. If it fails,
simply retry it.

It may happen that in a 3 PM cluster it will update PM1 (main unit) and PM2, but not PM3. Or it
will update PM1 and PM3, but not PM2. Or it will only update PM1. PM1 is always updated, the
problem occurs with the extension units.

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2.10. External Devices Menu

2.10.1. Introduction
In the External Devices menu, all devices that are connected to the system are listed and can be
operated from here.

Only devices that are added in Hardware Setup > External Devices are shown in the External
Devices menu.

The devices are grouped and displayed in the following submenus:

• All

• VTRs

• GPIOs

• Ross XPression

• Network Devices

2.10.2. All
The All menu displays all the added devices and allows you to control each device in one single listing.

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2.10.3. VTRs
Overview
The VTRs menu displays and allows control of VTR devices (e.g. XT3 server, K2 server) and serial control
devices (e.g. moxa-box connected devices like BVW75-player, VDCP-XT-player or VDCP-player).

Operations
Only VTRs are listed in this menu and can be controlled.

Load clip
Opens a dialog box which allows to load a clip into a player. All clips are presented in the form of a list.
The following clip information is given: name, length and format. If additional information is available, it is
shown when you hover your mouse pointer over the clip.

A thumbnail of the clip will only be displayed if the external device supports thumbnails. This is the case
for example for the K2 device.

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The currently loaded clip is displayed with a gray background. The clip currently selected by the user in
the list is displayed with a light-blue background.

If the external device supports this, for example a K2 device, a Change Dir button will be available at the
bottom of the dialog box. This button will allow to change the clip directory and browse other clip
directories on the external device.

Once the clip is loaded, and the external device supports this, a thumbnail of the clip is displayed in the
VTR control section.

To ensure safe clip handling with Grass Valley K2 AMP, it is important to always use unique K2
clip names within the context of a Dyvi production. This should also be considered if clips are
accessed from several K2 clip directories.

Go To Timecode
Used to jump to a specific timecode in the clip. Opens a dialog box which allows to enter the timecode.

When controlling Grass Valley K2 channels that are configured for 'Record + Playback', the
behavior might differ from the recommended configuration. In this case, the transition from a

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channel’s EE-Mode to a playback mode like Play, Step, Goto TC, etc. might be finally executed
by sending the command twice. The first command sent is consumed by K2 to take the
channel away from the EE-Mode.

2.10.4. GPIOs
Overview
The GPIOs menu allows you to control devices that are connected via a GPIO box. A GPIO box sends
outgoing triggers, e.g. tallys.

How to Rename a GPO

1. Right-click the GPO and select Rename GPO… in the shortcut menu.

2. Enter a name in the dialog box that appears. Click Accept to confirm the name.

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How to Configure a Trigger
1. Right-click the appropriate GPO and select Configure Trigger(s) in the shortcut menu.

The Configure GPO dialog box appears.

2. Click the Advanced button to split the dialog box into two parts.

3. Select the sources that should be triggered by a GPO and click the Add button.

4. Select a source and click Change to modify it. It is possible to combine more than one condition with
And, Or or XOr linkage.

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Select Invert Output to invert the output of a GPO from open pulse to closed pulse.

Sources linked to a GPO are indicated below the GPO button.

2.10.5. Ross XPression

Overview
The Ross XPression menu allows you to remotely control one or more XPression, i.e. the Ross graphics
system, via Ross commands.

To be able to remotely control a Ross XPression via this menu, it has to be added first in Hardware Setup
> External Devices to a PM. See section "External Devices" on page 262.

Ross XPression Operations

How to Execute a Command

To immediately execute a command without configuring and storing it, select the appropriate command
from the Command drop-down list. Then, click the Send button.

Depending on the command, the labeling of the drop-down lists will change.

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How to Create and Store a New Command
1. Select the appropriate command from the Command drop-down list.

2. Configure the parameters of the command in the rest of the drop-down lists.

The ‘Buffer’ parameter has an offset in the underlying protocol. A ‘Buffer 0’ command in the
Dyvi will select the ‘Framebuffer 1’ in a Ross XPression application.

3. Click the Store button.

The Rename dialog box opens.

A default name is given to the command, Cmd-x.

4. Enter a name for the command.

5. Click Accept.

A command button will appear.

Commands belong to a production and will be stored in it.

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How to Rename a Command

To rename a command, right-click the appropriate button and select Rename in the shortcut menu.

How to Edit a Command

To edit a command later, right-click the appropriate command button and select Edit Command in the
shortcut menu. A dialog box will appear allowing you to modify the parameters of the command.

Note that the type of parameters displayed in the dialog box depends on the type of command.

For more detailed information about the operation of XPression, please refer to the XPression manual.

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2.10.6. Network Devices
Overview
The Network Devices menu allows you to connect to external devices (network device or telnet device)
via a TCP/UDP or a Telnet connection and to control them by sending device specific commands. It
enables you to enter these commands, store them in a button and recall and send them to the external
device.

Dyvi supports Intelligent Interface II. This is a basic telnet/text listener service that is used on
ChyronHego, Click Effects, and Vizrt devices. It allows the Dyvi system to control the external devices
by sending specific slash-delimited command strings.

See the documentation provided by these manufacturers for the correct commands.

These commands could also be sent via a macro or timeline.

Operations

How to Create a New Command

To create a new command, proceed as follows:

1. Enter the command string in the Command field.

For a Telnet device, e.g. CyronHego’s ‘Lyric’, a command could be V\05\03\01\01\04\0\\ or

ESC:V\05\03\01\01\04\0\\\\\x0d\x0a.

For a network device such as LINUX ‘netcat’, a command could be “Hello” 0C 0d 0A or 48 45 4c 4C

4f.

2. Click the Store button.

The Rename dialog box opens.

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A default name is given to the command, i.e. Cmd-x.

3. Enter a name for the command.

4. Click Accept.

A command button will appear. If you hover your mouse pointer over the button, the command you
entered will appear.

How to Rename a Command

To rename a command, right-click the corresponding button and select Rename in the shortcut menu.

How to Remove a Command

To remove a command again, right-click the corresponding button and select Remove in the shortcut
menu. If a command is removed, the gap is filled by moving the commands at the right by one position to
the left.

How to Move a Command

If you select a command button, it will be outlined in blue. You can use the keyboard shortcut keys
CTRL+LEFT and CTRL+RIGHT to move the command button left or right. You can also right-click the
button and select Move Left or Move Right.

How to Send a Command

Enter a command in the Command field and click Send to send a command directly.

Click the button of a stored command to execute the command immediately.

For more detailed information about the operation of the network device, please refer to the appropriate
manual.

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2.11. Configuration Menu

2.11.1. Introduction
The Config Menu allows you to configure your Dyvi system.

The following configuration tasks can be performed here:

• Managing physical and local sources

• Defining outputs

• Setting substitution tables

• Coupling objects

• Configuring source option presets

• Defining the panel assignment and config

• Configuring the GUI

• Configuring the system / processing module.

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2.11.2. Global Sources

Overview
The Global Sources menu is used to organize and arrange all sources needed in a production. Each
production contains its own list of global sources.

Global Sources Pane

The Global Sources pane on the left allows you to create all logical sources you need for the production,
order them in groups and add effects to them.

Besides selecting physical sources like SDI inputs, and RAM recorders directly, for many situations it is a
better approach to create and use logical sources. When during a production, camera 3 on SDI input 3
breaks and you continue with camera 7 on SDI input 12, you just have to replace SDI input 3 by input 12
in the logical source and all timelines, macros, etc. will work in their normal way.

The Global Sources pane consists of three pages.

Page 1
Page 1 of the Global Sources pane shows the available groups of logical sources with their related
physical source and physical alpha channel.

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Page 2
Page 2 of the Global Sources pane additionally displays where and how often a logical source is used
directly as a source or as a source option.

When you hover your mouse over an item, a popup gives you a detailed listing of the used destinations.

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Page 3
Page 3 of the Global Sources pane displays the export name for a source when used for an Ember
protocol. By default, the option (auto) is selected in the Export Name column. This means that the name
of the logical source will be taken as export name.

To choose another export name for a specific logical source, right-click (auto) and enter a name in the
Rename (External Name) dialog box that appears.

For further information concerning the Ember protocol, please refer to the Dyvi Technical Reference
manual.

IMPORTANT CHANGE TO 2.X

The “Inputs” folder created with any new production in Global Sources will now always display
all the Physical Inputs available on the Processing Module. It is possible to change this folder's
content temporarily, but on a PM restart or Production load, the folder will reset its contents to
include all Physical input sources again.

If a user-customized selection of sources is required, e.g. only 23 of the physical input sources
actually need to be displayed in a folder, a new folder should be created and given the name
“User inputs folder”.

This newly-created Global Sources folder will remain unchanged after a restart or production
load.

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Physical Sources Pane

Overview
The Physical Sources pane on the right displays the physical sources you can add to a logical source. If
the physical sources are not displayed in alphanumerical order, they can be sorted, using the Sort option
in the contextual menu.

Available physical sources are:

• Templates to create internal sources:

◦ Color mattes

◦ A list of test patterns

◦ Text templates.

• SDI inputs

• IP inputs

• Stills

• RAM recorders.

Create a Group
The Create a Group item allows you to create a group in the Global Logical Sources pane. For better
overview groups can be nested.

Internal Source Templates

The Internal Source Templates group allows you to create logical internal sources like Color Mattes, Test
Patterns and Text templates.

Full Size
You can drag this item on the Physical Alpha Channel column of a logical source to remove the alpha
channel.

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SDI Inputs
The SDI Inputs group shows the current state, aspect ratio, whether the source is locked, and the line
offset.

IP Inputs
The IP Inputs group shows the current state of the inputs.

Stills
The Stills group shows the available physical stills you can link to a logical still.

RAM Recorders
The RAM Recorders group allows you to link a physical RAM recorder to a logical source. When you need
a RAM recorder with a key channel, it is a good idea to create one logical RAM recorder with e.g. RR1 as
the physical source and RR2 as the physical alpha channel.

Source Effects Pane

This pane displays the effects that can be added to one or more logical sources. Multiple effects can be
added to the same logical source.

Parameter Control Pane

This pane allows you to modify the parameters of a particular effect added to a specific logical source.

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Creating and Editing Logical Sources
Creating a Logical Source
To create a new logical source, select the corresponding physical source in the Physical Sources pane
and drag and drop it onto the Global Logical Sources pane into the Logical Source column. The following
rules apply:

• If you drop a physical source onto a group, the new logical source will be created inside the group at
the end.
To have the new logical source created below the group, use CTRL + drop.

• If you drop a physical source onto a logical source, the new logical source will be created below that
logical source.

• You can always change the drop position at the end → at the beginning and below → above by
using ALT + drop.

• All logical sources, whether grouped or not, are in the Global Sources group. This means that they
are selectable everywhere. This contrasts with the local sources of a scene.

Grouping Logical Sources

Logical inputs can be grouped in folders that can be renamed. It is a good idea to group logical inputs. It
gives you a better overview in large productions and, more important, it allows more dynamic source
option assignments.

There are two ways to create a group of logical sources:

• Drag and drop the Create a Group item from the Physical Sources pane to the Global Logical Sources
pane. Move the desired logical sources to this new group.

• Right-click the Global Sources group and select Create a Group.

Drag and drop a folder with physical sources from the Physical Sources pane to the Global Logical
Sources pane.

By default, new groups will be added at the bottom of the list. You can also create a new group inside an
existing group of logical sources.

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Replacing Physical Sources in Logical Sources

To replace the physical source of a particular logical source with another physical source, simply drag
and drop the physical source onto the Physical Source column of that logical source.

Physical stills, physical inputs and RAM recorders can only be dropped onto logical sources of
the same type.

Editing the Parameters of Source Effects and

Internal Sources
To modify the parameters of a particular source effect or internal source, select the effect of the source
and open the Parameter Control pane. Alternatively, you can open the modal version of the Parameter
Control window by double-clicking the effect or by right-clicking the effect and selecting Edit
Parameters from the context menu. The modal version of the window offers you the option of
discarding your changes.

Tally Link
Multiviewer output tallies can be linked. For example, the XT dirty output will be tallied when XT clean
output is on-air. For linking, right-click the Tally Link To column and select the appropriate source.

Input Disabling
When a source is temporarily not available, e.g. an external link connection is down, you can prevent the
operator from selecting such a source on the control panel. The button will be blocked. For disabling,
right-click the Selectable column and make your choice accordingly.

Tally Link and Input Disabling is available for the Logical Sources as well as for the Physical Sources.

2.11.3. Outputs
Overview
The Outputs menu displays the different outputs in the currently loaded production. For each output,
you can select the label, current source, output type and tally system. In addition, you can assign video
effects and substitution tables.

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You can rename the physical outputs for use in the local environment. (These names are not saved in the
production file). Their relation to the logical outputs is displayed in the Phy.Name / Label column of the
Output menu, in the same way as for the Multiviewer Outputs.

The left-hand window displays the different types of outputs and their properties, the right-hand
window (Toolbox window) displays the items (sources, video effects, output types, substitution tables
and tally systems) that can be added to an output. The Parameter Control tab on the right allows you to
modify the parameters of an item selected in the left part.

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The Dyvi system has 2 types of output:

• SDI/IP Outputs (in classic switchers often called AUX buses)

◦ SDI Outputs: BNC outputs

◦ IP Outputs: QSFP+ outputs.

• Multiviewer Outputs

◦ Multiviewer Outputs: Sources shown on the internal multiviewer. Multiviewer outputs can also be
set up in the Multiviewer Assignment menu. See section "Multiviewer Assignment Menu" on page
115.

ToolBox Window
Sources Pane
The Sources pane displays the sources that can be assigned to an output:

• Physical sources

• Global sources

• Scenes/Stages

• LookAhead Preview signals from Panels.

Effects Pane
The Effects pane displays the video effects that can be added to a Multiviewer output only.

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Output Types Pane
The Output Types pane displays the output types that can be assigned to an output: Program or
CleanerFeed.

Substitution Tables Pane

The Substitution Tables pane displays the substitution tables that can be assigned to an output.

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Tally Pane
The Tally pane displays the tally systems that can be assigned to an output and also the states that can
be assigned to a tally system.

The Dyvi system supports 32 independent tally systems.

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Parameter Control Window
The Parameter Control window allows you to modify the parameters of a selected multiviewer output
effect.

Alternatively, you can open the modal version of the Parameter Control window by double-clicking the
effect or by right-clicking and selecting Edit Parameters from the contextual menu. The modal version
of the dialog offers you the option of discarding your changes.

You can also change the parameters of an output effect in the Multiviewer Assignment menu.
See section "Output Effects" on page 125.

Configuring Outputs
Selecting a Source
You can select a source for each output. There are two ways to assign a source:

• Right-click the Current Source cell of the desired output and select the appropriate source.

• Drag and drop the appropriate source from the Sources pane onto the Current Source cell of the
desired output.

Defining Source Options

Source options can be defined for any of the outputs. These sources can then either be controlled in the
GUI (in this menu), or via an AUX bus crossbar section on the control panel.

How to View the Source Options of an Output

To view all available source options for a particular output, select the output and activate the Show
Source Options button. The Source Options pane will appear. The currently selected source is
highlighted in blue.

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How to Add or Change Source Options

To change the source options, click the Edit button in the bottom toolbar.

In the pop-up window, you can either create individual source options for the output or select one of the
12 presets. When you create a new production, two presets (Scenes and Aux) are generated
automatically and assigned accordingly.

To change the source options, drag and drop sources from the right pane to the left one. For sources,
you have arranged in group folders, you can alternatively assign the complete folder. This results in a
dynamic behavior: When you later add or remove sources from this group, the source options for all
those layers are updated where the complete group was assigned. Source options where the sources of
the group were assigned individually remain unchanged.

If the current assignment was a preset (visible by the gear icon in front of the preset name), the
assignment for this layer will be converted to an individual assignment.

You can store any individual assignment as one of the 12 presets.

To add an empty button as a separator, right-click the relevant position and select Insert Separator
from the contextual menu.

You can only change the order of individual sources and of complete groups. To change the
order inside a group you have to change it in the group itself (in Global Sources).

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Locking Outputs
Output selection can be locked to avoid involuntary change. Right-click the Locked cell of the
corresponding output and select Locked in the shortcut menu.

Selecting an Output Type

For each IP, SDI and multiviewer output you can select the output type. Right-click the Output Type cell
of the corresponding output, and select the appropriate output type: Program or CleanerFeed. You can
also drag and drop the desired output type from the Output Types pane.

When e.g. a layer is defined to be blanked in CleanerFeed 7 (set up in the Layers window), it will never
show up on an output set to output type CleanerFeed 7, no matter via which path the layer reaches this
output.

Assigning a Substitution Table

You can assign a substitution table to an output. This substitution table has to be created and
configured in the Substitution Tables menu first. See section "Substitution Tables" on page 206.

There are two ways to allocate a substitution table to an output:

• Right-click the Substitution Table cell of the corresponding output, and select the appropriate
substitution table.

• Drag and drop the appropriate substitution table from the Substitution Tables pane onto the
corresponding Substitution Table cell.

To remove a substitution table again, do one of the following:

• Drag and drop the Remove Substitution Table item from the Substitution Tables pane onto the
corresponding Substitution Table cell.

• Right-click the Substitution Table cell of the corresponding output, and select Remove Substitution
Table in the shortcut menu.

Assigning a Tally System

You can assign a tally system to an output and set the status of that tally system.

You can assign a tally system in two ways:

• You can drag and drop the appropriate tally system onto the Tally cell of the desired output. In this
way a previously assigned tally system will be replaced.

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• You can also right-click the Tally cell of the desired output, select Add/Remove Tally System, and
select the appropriate tally system. This way, you have the choice to assign more than one tally
system to the same output. If more than one tally system is assigned, the tally system name of the
first tally system is followed by three dots. To display the full information, hover your mouse over the
cell.

By default, the state of the assigned tally system is set to on.

To change the state, right-click the Tally cell and select one of the following options:

• On: Tally calculation for this output is active.

• Off: Tally calculation for this output is disabled.

• Extern: Tally calculation for this output is activated by an external on/off information.

You can also drag and drop the desired tally system state to the Tally cell of the desired output.

A Multiviewer output can also be set to generate tally indication for a certain level. It is NOT
recommended to use it for PGM tally, as the setup may be changed when recalling a
production. The best practice is often to use one physical SDI out to generate PGM tally.

Adding an Output Effect

To add a video effect to a Multi-Viewer output, drag and drop the desired effect from the Effects pane
onto that multiviewer output.

The current software only supports output effects for the multiviewer outputs.

To use effects on IP or SDI outputs just create a scene with a background layer only, add the desired
effect(s) and select.

Adding an X and/or Y-Offset

For a multi-screen production, several SDI-outputs form one image. Currently, this is also the way in
which 4K productions are set up. In classic switchers you would use several MixEffect-Banks and use
coupled DVE channels with an offset for the XY-position to fly over the different screens. You can do the

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same in Dyvi with scenes and 2D-Transform parameters coupled in the Couple Objects menu.

The X and/or Y-offset for an output in combination with a substitution table offers a much simpler and
more powerful solution. You can handle the complete image processing in one scene for one output. For
all other outputs you select the same scene and set X and/or Y-offset accordingly.

An adjacent output directly to right would have an Y-offset of -32.0.

An adjacent output directly on top would have an X-offset of -18.0.

These offsets are now applied to all positions of all layer effects, no matter whether they are in the
scene directly or in a cascaded scene. For some of the wipe patterns, the offset is also considered,
allowing background wipe transitions on multi-screens.

Right-click the X or Y-Offset cell of the appropriate output and enter the desired values in the dialog box
that appears.

In the example below, the multiviewer output has an x-offset of -32.

2.11.4. Substitution Tables

Introduction
The Substitution Tables menu allows you to create and configure substitution tables. These tables are
used for bus coupling, i.e. to replace one source from the controlling bus by another source on the
controlled bus.

A second use is a substitution table for a SDI-output or a multiviewer-output. In this case, the same
scene is used for multiple outputs. The ones with a substitution table will replace all sources selected in
any layer by the sources in the substitution table.

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The left pane displays the substitution tables, the right pane displays the sources.

Creating a Substitution Table

Creating an Empty Substitution Table
To create a new, empty substitution table, do one of the following:

• Right-click inside the left pane of the menu and select Add Table in the shortcut menu.

• Click the + button in the bottom toolbar and select Add Table.

• If the production does not have any substitution table yet, dropping a source into the pane will
automatically create the first substitution table.

Creating a Couple Pair

To create a new couple pair for a particular substitution table, drag and drop the desired source from the
Sources pane onto the substitution table item.

The dropped source will be considered as original source in the couple pair.

The substitution source for this new couple pair is set by default to Not Touched. This means that the
controlled bus will not change the current source.

To set a different substitution source, drag and drop the appropriate source from the Sources pane onto
the Substitution cell, or right-click the Substitution cell, select the option Select Source…, and select
the appropriate source.

When a source is selected on the controlling bus, the general rule for the source selection on the
controlled bus is as follows:

• When no substitution table is set, select the same source.

• When a substitution table is set but the source is not in the table, select the same source.

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• When a substitution table is set and the source is in the table, select the substitution source (when it
is not ‘Not Touched’).

2.11.5. Couple Objects

Overview
If parameters are coupled within the Couple Objects menu, they are coupled permanently.

The menu offers all objects and parameters of the current production which can be coupled.

Three types of displayed parameters are possible:

• Show coupled only

• Classic bus couple

• Advanced couple.

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Searching for Parameters

The number of parameters can be very large (some thousands, depending on your production). To
provide an easier way to find a desired parameter, you can limit the displayed parameters by searching
for objects (e.g. name of a layer) and/or searching for parameter names (e.g. “opacity”).

Coupling Objects or Parameters

To couple two objects or parameters of two objects, proceed as follows:

1. In the Controlled Objects column, select the object or the parameter you want to couple. The
selected row will turn yellow.

2. To add the controlling object or the controlling parameter, right-click the yellow bar and select Add a
Controlling Parameter

or Add a Controlling Object.

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 The Add Controlling Parameter or the Add Controlling Object dialog box will appear and offers all
compatible objects or parameters to couple.

The controlled parameter/object itself will appear grayed out, as it is not selectable to control itself.

3. Select the controlling object/parameter and click OK.

The selected object/parameter will be displayed in the middle section of the line.

4. To set more than one controlling parameter, right-click the middle part of the yellow bar and select
Add a Controlling Object/Parameter in the shortcut menu.

The number of selected objects/parameters will be displayed between brackets. The

objects/parameters can be removed individually.

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Setting an Offset Between Coupled Parameters

A minus sign in the right part of the yellow bar indicates, that no offset has been defined between the
coupled parameters. To set an offset, proceed as follows:

1. Right-click the right part of the yellow bar.

2. Select the appropriate Add Offset option in the shortcut menu.

A window will open allowing you to set the parameters.

When an object is coupled, all parameters of the object are coupled and you can set individual
offsets for them.

Filtering Coupled Parameters

To get an overview of all parameters currently coupled use the Show Coupled Only button.

Displaying Coupled Parameters in the Parameter

Control Window
To control the coupled objects, select Parameter Control window in the Scenes menu.

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The controlled as well as the controlling object(s) will be indicated in the Parameter Control window by
two different types of arrows.

Two arrows >> pointing to the parameter indicate that these parameters are controlled by another
parameter.

Two arrows after a parameter >> indicate that this parameter is controlling one or more parameters.

2.11.6. Source Option Presets

Along with the two default source option presets, the Source Option Presets window enables you to
create a table of source options using elements selected from Scenes, Stages and/or Global Sources
and assign them to customized presets. You can then select these source tables for use with any
background, layer or output.

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How to Create a Source Option Preset

1. Press the Clear Workspace button to empty the window.

The keyboard shortcut CTRL + A also enables you to select all the elements in the workspace
window to be able to delete them.

2. From the toolbox tabs in the right-hand window, select scenes, stages, inputs or folders of inputs
from the Scenes/Stages or Global Sources tabs and drag and drop them into the workspace window.

3. Arrange the elements in the stack using the buttons below the window, to move them up or down, or
delete them. To add a separator, select the green + button below the window and select append
'Separator' as placeholder at end.

4. When completed, select one of the available Presets buttons and select the appropriate button to
Store or Rename the preset.

5. Rename the preset as required and press OK.

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 The new preset name will be displayed on the Presets bar.

2.11.7. Panel Assignment

Although the control panel looks very similar to a classic control panel, configuring it is unprecedented in
flexibility and gives you currently unimagined creative options.

Editing a panel assignment is done in a kind of work buffer, which means you first load the current
assignment of the panel into this buffer, apply all your changes and then send it back to this (or another)
panel to activate the changes. Until you send the new configuration back, the panel is still operational
with the previous settings.

In classic panel layouts, complete horizontal rows are delegated to certain functions like key source
selection, etc. The Delegation buttons are fixed. In the Dyvi control panel there are no longer any
horizontal or vertical row restrictions, the functionality for any button can be defined individually.

First, select the control panel you want to configure.

Even if you want to start from scratch, it is a good idea to load the current panel assignment, because
the load action will adapt the work buffer panel to the current size. In principle, you can load an
assignment in a different type of panel. If the real panel is larger, some extension parts will stay dark, if it
is smaller, some defined buttons will not be accessible.

The panel assignment can be divided into two parts: Button Assignment and Section Delegation.

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Button Assignment

The Button Assignment panel is where you define the functionality of the individual buttons. First, you
create layout sections and then you assign buttons to them. The most common ones are the section for
scene crossbars and transition modules. With these two section types, you can build the layout of a
classic control panel ME. Layout sections have different types of buttons or button rows.

Possible Types of Layout Section

Stage Crossbar
• Program Source: Classic program source selection.

• Preset Source: Classic preset source selection.

• Sub-Scene Delegation: If the displayed scene contains subscenes in some of the layers, this
delegation group allows source control of the layers of these scenes. The moment you delegate to a
subscene, the section layout displays the delegated sub-scene. This is only one way to have source
control of subscenes. You will learn more about it in section ""Section Delegation" on page 225" on
page "Section Delegation" on page 225.

• Layer Delegation: Classic delegation for layer source selection (Keyer in classic switchers). In the
classic implementation, you have only access to one source selection at a time (the selected one).
You can add more delegation/source select pairs: In the Scene Delegation/Source Rows pane, right-
click and add another pair.

• Layer Source: Classic layer source selection.

• Scene Selection: This delegation gives access to scenes within a Stage. For example, a Stage
contains three scenes (Scene A, Scene B, Scene C) and exactly those scenes would be illustrated on
those buttons as a choice to activate a specific scene. The moment you delegate to a scene the
section layout displays the delegated scene.

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Macro Crossbar

• Play Macro • Pre-Attach

• Record Macro • Post-Attach
• Delete Macro • Replace-Attach
• Stop All Macros • Delete Attachment
• Show Attachments • Enable Attachments

Macro Attachment will be covered later in this chapter.

Auxbus Crossbar

• Delegations • Sources

Multiviewer Crossbar

• Delegations • Sources

Multiviewer Layout Recall

• Delegations • User Preset Sources

Device Control
• Device Delegation

• Play, Reverse, Pause, Stop, Step+, Step-, Fast Forward, Rewind, Begin, End

Transition Module
• Cut Buttons: Cut buttons for direct transitions.

• Auto Buttons: Auto buttons for direct transitions.

• Next Transition: Next Transition buttons for direct transitions

• Selected Cut Button: Cut button for the transition selected for the lever arm.

• Selected Auto Button: Auto button for the transition selected for the lever arm.

• Key Preview: Toggles the preview MV-output through the available key previews.

• Show Deep Transitions: If the displayed scene contains subscenes in some of the layers, the
transitions of the subscenes will also be displayed and can be controlled.

Besides the two Transition Modules, which you normally assign to buttons of the hardware
transition modules, you can add more transition modules which you can assign to buttons in
the normal crossbar button area. These extra transition modules are also available in the
Multiviewer Assignment for LookAhead preview.

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This example shows a stage crossbar section, only containing some program buttons (orange)
and preset buttons (white). The transition module just contains one Selected Auto button. In
this setup, only one (the first) transition can be displayed as LookAhead preview on the
Multiviewer.

In this example, the transition module also has four Next Transition buttons, allowing to
preview and trigger the first four transitions of the scene.

In the Multiviewer Assignment menu you can select the Extra Transition as LookAhead
preview.

General Delegation Section

Delegation buttons are used to delegate stages or scenes to different transition modules and/or stage
crossbar sections.

Creating Layout Sections

To create a layout section, right-click in one of these windows and add a new section. As you see in the
example above, scene crossbar sections are created in the left window.

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To add a stage crossbar, right-click in the window and select Add Stage Crossbar Section.

In the middle section, you have the possibility to select from the following list:

In the right hand section, transition modules can be defined. The naming of the sections is completely
flexible. It is a good idea to give names that indicate what you want to do with them. Remember, you do
not define here which scene you will control, only which buttons will be used for program row, preset
row, etc., for whatever scene is later delegated to it.

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Once a scene crossbar section is created, you assign buttons to the different row types. When a layout
is selected, the pane to the right of the Transition Module pane displays all row types for the selected
section. Select the desired row type (in the example the Program Source), hold down the CTRL key and
drag a rectangle around the buttons you want to define for it. The relevant buttons are bordered in the
color of the selected row. A white + indicates that the buttons have not yet been assigned to another
group and will be added. A red + indicates that the button belongs to another group and will be re-
assigned.

To remove buttons from a group, hold down the CTRL key and drag a rectangle around the buttons you
want to remove (indicated by a white X).

Alternatively, you can hold down the CTRL key and click buttons individually, which will toggle them into
or out of the group.

For default assignments of scene crossbar sections (and transition module sections) you can only select
the section and drag a rectangle around the lower or upper half of the panel. This will create a classic
control panel ME-layout with layer delegation, layer source select, and program and preset source
select. In this example, you see in the upper left 4 buttons with a red +, indicating that these buttons
already belong to another group and will be re-assigned.

You can change the color of the individual row via a right-click operation in the Scene Delegation /
Source Rows pane.

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Filling Mode
In the Dyvi panel assignment, you do not define which source is selectable under which button of a row,
e.g. the program row. The number and the order of sources in which they appear on the panel are
defined per scene per layer in the source options. The only thing you define in the panel assignment is
the number of buttons and the filling mode.

When for example you have defined 24 buttons for the program and preset source row, but in the source
options only 10 sources are defined for the background layer of the delegated scene, these 10 sources
are filled from left to right, leaving the remaining 14 buttons dark. When more source options than 24 are
defined, the most right button (in filling mode right to left it would be the most left button) turn into a
SHIFT button, offering as many SHIFT levels as needed to access all sources. The vertical filling mode
only applies when you have assigned buttons from different physical rows to the same group (e.g.
Program Source).

Moving All or Parts of a Layout Section

To move a layout section, select the section, hold down the SHIFT key and drag any button of the
section to the new position. A red + in a button indicates that this button at the drop position is already
assigned to another group and will be re-assigned. To move only a single row of a section, select this
row and drag it accordingly.

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Selecting Sections / Rows for Editing

When a larger panel contains many sections, it can become difficult to see which buttons belong to
which section.

When you select a section, this section is highlighted. The selection works bi-directionally. Either select
the section in the table or click any assigned button, which will select the complete section.

When you subselect a row or when you click a button in an already selected section, only this row is
selected.

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Everything which is shown in the examples above for the scene crossbar section works in a similar way
for all the other sections.

In the display of the two transition areas, the assigned transition module is indicated. You also see the
default mode for the display. The display can either show only the transitions of the delegated scene or
show all “deep transitions”, which means it also shows the transitions of scenes that are selected as
source in any layer of the delegated scene. You can change the default by clicking on the respective
text line.

Show Overview

In this mode, you get an overview of your current button assignment, showing the individual sections in
different color shades. For stage crossbar sections, the color of the program row is used, for transition
module sections the color of the cut button row is used.

Show Delegations

This mode is very similar to the Show Overview mode. Additionally, the delegation of the individual stage
crossbar and transition module sections is indicated.

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Show Live

In this mode, the current state of the switcher is projected to this button assignment.
In this example the CP-Stage crossbar section (top right, yellow) is dynamically delegated by the
program row of the MainScene.

Switching in the program row of the MainScene between the sources Stage1 and Cam12 results in the
following display:

The operator immediately can see why this stage crossbar section temporarily turns to black.

Macro Attachment
The execution of macros can be attached to any button of the panel. You can attach in the following
ways:

• Pre-Attachment: First the macro is executed, then the actual button function.

• Post-Attachment: First the actual button function is executed, then the macro.

• Full Replace-Attachment: The original button function is blocked, only the macro is executed. The
button and the display behave like the original macro button (color of macros, last executed macro is
tallied).

• Function Replace-Attachment: The original button function is blocked, only the macro is executed,
but the button color and the display still show the original button function.

The actual button function can differ, depending on which scene is currently delegated to the
button.

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Each button can hold multiple Pre-, Post-, Replace-Attachments of different macros.

To view/edit macro attachments, switch on the Macro Attachment button. Two of the windows are
switched to Macro Attachment mode (Attachments and Macros).

The panel button layout shows all buttons with attached macros. For single attachments, the color of the
button is red for Pre-Attachment, green for Full Replace-Attachment and blue for Post-Attachment. For
multiple attachments to one button, the colors are combined accordingly. The number indicates the
number of attachments for this button. Select a button (red border) to view or edit the attachments. To
attach a macro, drag the macro from the Macros pane into the Attachments pane. The default
attachment is a post attachment. If needed, you can change this to Pre or Replace.

To remove an attachment, select it and press the Delete key or click the X icon.

Aux Bus Delegation

By default, all Aux Buses with source options will be available and displayed in the AuxBus delegation
section.

Alternatively, Aux buses can be individually dragged and dropped in the Group of controlled Auxbuses.

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Device Control Delegation Pane

To view/edit device control delegations, switch on the Device Control Delegation button. Two of the
panes are switched to this delegation mode (Group of Controlled Devices and Controllable Devices).

If the Group of Controlled Devices pane is empty, all RAM recorders and all controllable external
machines will be shown in the delegation row of the panel. Drag the devices you want to control into the
Group of Controlled Devices window.

Section Delegation
So far, we have seen how to create different layout sections on the panel where scenes can be
displayed. The scene crossbar sections allow you to select the sources, the transition module sections
allow you to control the relevant transitions. However we have not yet defined which scene should be
displayed where.

In a classic control panel layout, the delegation is rather limited. In most cases, an entire horizontal part
of the panel is delegated, including preset, program, bus-delegation and bus-select rows and the
transition module.

The delegation setup can be done in a graphical mode and a more table-oriented mode.
The graphical mode gives a better overview, so we will start with it. First, we introduce the basic
elements you can play with. Then, we show in a number of examples how they are used and in which
behavior it results.

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Graphical Mode
The following graphical elements are supported:

User Interface Element Description

This element represents a scene crossbar section from the button

assignment. The color is the same as the color of the Program Source
row.

Scene Crossbar Section

This element represents a macro crossbar section from the button

assignment. The color is the same as the color of the Play Macro button
row.

This element represents a transition module section from the button

assignment. The color is the same as the cut button row.

Transition Module Section

A line drawn from this element to a delegation section, a scene crossbar

or a transition module section delegates the section permanently to this
scene. The color can be changed via a right-click operation.
Fixed Stage or Scene
Delegation

A line drawn from this element to a delegation section, a scene crossbar

or a transition module section delegates the section dynamically to the
scene that is currently selected on this SDI output. If no scene is selected,
Dynamic SDI-Output e.g. just a simple logical source, the section turns to inactive, which
Delegation means the buttons turn dark.

A line drawn from this element to a delegation section, a scene crossbar

or a transition module section delegates the section dynamically to the
scene that is currently selected on this Multiviewer output. If no scene is
Dynamic Multiviewer- selected, e.g. just a simple logical source, the section turns to inactive,
Output Delegation which means the buttons turn dark.

A line drawn from this macro group folder element to a macro crossbar
section displays all direct macros in this group. Subfolders and macros in
subfolders are ignored.

The delegation behaves like a switch. The left side shows the number of
delegation buttons you have assigned in the button assignment. When
you e.g. draw a line from the Stage1 element to number 1, a line from the
Stage2 element to number 2, and a line from the Stage3 element to
number 3, and you then drag a line from the right delegation part to a
crossbar section, you can delegate this crossbar section by pressing the
General Delegation delegation buttons 1-3.
Section

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Color Rules for the Control Panel

In the Panel Assignment menu, you can color each row in your own color. This is useful to be able to
distinguish the different layout sections from each other.

There is a special rule for:

• the program row buttons of a scene crossbar section

• the cut row buttons of a transition module section

When the delegated scene or stage has no color (this is the default, the scene/stage is shown in gray),
these buttons stay in the color you defined them in the Panel Assignment menu. Sometimes you want a
visual feedback about which scene is currently delegated to a certain scene crossbar section. When you
color a scene/stage (by right-click), the program row of the scene crossbar section and the cut row of
the transition module section will change to the color of the delegated scene.

The delegation row buttons of a general delegation section always show the color of the program row of
the delegated scene crossbar section.

Table Mode
Alternatively, you can setup your section delegations via table lists.

Select Section Delegation (Table Mode) in the tab at the top of the window.

In the window on the right, you see all your layout sections. First, select a section, and then select your
desired delegation object. The currently selected delegation object is selected.

The Table Mode allows a faster setup, the graphical mode gives a better overview.

Send to Control Panel and User Presets

Once you are ready with your setup, you can activate the panel assignment. Select your panel in the
control panel list and press the Send to Panel xx button. If you are not happy with the result, just click
Undo Send to Panel xx that will reload the previous assignment.

At any time, you can save your current assignment under one of the 16 User Presets buttons (right-click
and save or rename). The presets are part of the Production and will be reloaded with the Production.

If you have more control panels in your production, you can load an assignment from panel A and send it
to panel B. If the panel size is different, you will end up either with unassigned buttons or you will lose
some of your button assignments.

Besides the 16 User Presets, you can load and save panel assignments from/to external
storage devices via Load Assignment… and Save Assignment…

Button Assignment & Section Delegation Examples

On the following pages, we will give some examples of how a control panel can be configured. We will
start with a classic panel layout and then increase step by step the flexibility to show the power and the
possibilities of the new design options.

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The examples use the basic panel with two source module extensions making a total of 40 buttons per
row. For smaller productions the basic panel with 24 buttons will fit, for large productions you could
expand the panel to 56 buttons per row.

Classic Layout

Classic Layout (4 Stages are controlled by a 2ME type control panel)

The upper half of the crossbar area controls the scene crossbar section Stage with:

• Snapshot Recall (blue)

• Layer Delegation (green)

• Layer Source Select (orange)

• Program Source Select (yellow)

• Preset Source Select (white)

The lower half of the crossbar area controls the scene crossbar section with an identical layout.

The only difference is that the Program Source Select row is red.

To create a connection between two elements, press and hold down SHIFT while dragging a line from
one element to the other using your mouse.

To remove a connection between two elements again, right-click it and select Remove Connection.

The Stage Transition Module and the Cp-Stage layout section can be delegated to Stage1, Stage2 and
Stage3 via the Delegation Section.

The Main Transition Module and the Cp-MainStage layout section are delegated by the MainScene.

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In the example, these three Delegation buttons are represented below the upper fader (blue buttons).
There you can switch between Stage1, Stage2 and Stage3 in order to have transition control.

Simple Mode

Simple Mode: 4 Stages, controlled by 4 Scene Crossbar Sections

Compared with the classic layout, the scene crossbar section rows are reduced from 40 to 32 buttons,
allowing two more sections, in the upper half with green Program Source Select buttons, in the lower
half with magenta ones. This button layout can be delegated in different ways:

• Version A

Actually, this is the same delegation compared with the classic one, with some extensions.

Since we have two more panel sections, we can have these delegated directly by Stage2 and Stage3.
This allows us direct source selection for all four stages in parallel – as long as the Delegation section is
delegated to Stage 1. When you set the Delegation section to Stage2 or Stage3 (to have transition
control for them) you will lose source selection for Stage 1.

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• Version B

Version B solves the problem from above. All 4 scene crossbar sections remain delegated by their
respective Stage. Only the Transition Module is delegated to Stage1, Stage2, and Stage3.

Dynamic Delegation Mode

Dynamic Delegation Mode: 4 Stages, controlled by 4 Scene Crossbar Sections

The button assignment is very similar to the previous one. The only difference is in the three white
buttons in the top right corner of the crossbar area. These buttons represent a multiviewer crossbar
section. Actually, only the source selection for it. In order to use this, we have to define in the
Multiviewer Assignment menu three source options (See section "Multiviewer Assignment Menu" on
page 115) for one multiviewer output: Stage1, Stage2, and Stage3. We rename this output to Stages. A
multiviewer crossbar section consists normally of Delegation buttons and of Source buttons. In our
example, we do not need Delegation buttons. We have only defined source options for this multiviewer,
and the first output with source options is delegated by default.

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The delegation is very similar to the Version A example. Only delegation 1 in the Delegation section is
replaced by MV Stages, which was Stage 1 previously. MV Stages represents the source which is
currently selected on the multiviewer output Stages. As described before, the defined source options
are Stage1, Stage2, and Stage3. When the Stage Transition Module is delegated to 1, the sub-delegation
is done by the multiviewer crossbar selection. Any source selection here (the three white buttons) will
select the source on the multiviewer output and automatically delegate the control of it to the panel. In
the example, we have only defined the three Stages as source options, but this can be any source. If the
selected source is not controllable (that means a simple source like a camera) the delegated control
section turns to disabled, if it is controllable (any scene or stage) you get control of it, no matter whether
it is a local stage or a scene from for example a remote unit in Paris.

Sophisticated Mode

Sophisticated Mode: 4 Stages, controlled by 4 Scene Crossbar Sections

The button assignment is identical to the previous example.

In the previous example, you have learned that you can use a multiviewer output as a kind of sub-
delegation. What works for the multiviewer outputs, works for the normal outputs and for the program
and preset source selection as well. In this example, the section CP-Stage3 will automatically be

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delegated to the scene that is selected in the MainStage program row. CP-Stage2 will be automatically
delegated to the scene that is selected in the MainStage preset row. When the Delegation section is set
to 3, the StageTransition and the Cp-Stage follow the multiviewer selection, when it is set to 2 it follows
the MainStage program row, etc.

Delegations can be cascaded, so that in this example, you could have other sections which could be
delegated by the program row of Cp-Stage3.

2.11.8. Panel Configuration

The Panel Config menu allows you to set up the auto-delegation between the GUIs and the control
panels.

Select a panel and a GUI and enable the button of the desired delegation direction. In the normal
operation menu, the GUI and the panel have a Menu Lock button to temporarily block the auto-
delegation.

Panels and GUIs that are currently active in the production are indicated in green. Inactive control panels
and GUIs can be removed by right-clicking them and selecting Delete from the shortcut menu.

When a control panel is selected, the right pane of the menu shows the brightness settings and the
power saver time. The panel will go into sleep mode after the specified time when not in use.

Transition Abort
This setting determines what happens when you press the Auto button for a layer transition while the
transition is running. When Transition Abort is active, the transition is reset to begin, otherwise it stops at
the current position.

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Show Tally on Layer Delegation

When active, not only the selected source of a layer is tallied (which you only see for the delegated
layer), but all on air layer delegation buttons turn red.

Show Tally on Transition Components

When active, the cut buttons in the transition area turn red when the relevant layer is on-air.

Power Saver Time

Indicates after how many minutes the panel goes to standby.

2.11.9. GUI Configuration

Introduction
The GUI Config menu contains all options to configure the GUI.

It contains the following tabs:

Tab Please refer to:

General "General GUI Settings Pane" on page 234

Window Style "Window Style Pane" on page 235

Font "Font Settings" on page 236

Network "Network Settings" on page 237

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 Tab Please refer to:

Monitoring "Monitoring Settings" on page 238

Import / Export "Import/Export Settings" on page 241

About "About" on page 244

General GUI Settings Pane

My Name
This name is used when you save or load a production. It is also shown on the left side of the GUI header
bar. When the name is empty, the computer name is used.

Mouse Cursor Hidden

For touch screen only operation, you can hide the mouse pointer. Even if hidden, the mouse pointer
stays visible while you move it inside the light grey area of this menu to allow you in an easy way to
switch the cursor back on again. At any time, you can switch the mouse pointer back on with the
keyboard shortcut keys CTRL + M.

Update Suppression Time

Here you can set the interval between updates from the mainframe to the GUI PC.

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Window Style Pane

Show Production Infos in Header

You can select here the information which is important to display in your setup.

Scenes Windows
In the Scenes menu, the windows show a red border when the associated content is on-air. Here, you
can adjust the width of this border, or set the width to zero to switch the on-air indicator off.

Shortcuts

Save Tagged and Current Version

If you enable this option, CTRL + T also saves to your current file. In most cases, this is a good choice.
Some users want to save a special production state to a tagged version for later recall, but do not want
to overwrite their current file with this state. They prefer a separate CTRL + S.

Show (C<--)
When checked, (C<--) is displayed behind the copied item to indicate the copy process.

Show Key Shortcut

Shows the keyboard shortcuts after every command of every shortcut menu.

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Toolbars

Show “Move to Top/Move to Bottom” Icons

If you enable this option, a double blue arrow button will be visible in the toolbar with which you can
jump directly to the start or end of a list. The double icons option (for move to top and move to bottom)
always stays available in the context menu.

Adapt Width
If you enable this option, a button with four outward pointing arrows will be visible in the right corner of
the toolbar. The adapt width option always stays available in the context menu.

With this button, you can adapt the width of menus to the visible area. This can be very handy in case
you have a menu that contains several columns and you do not want to use the scrollbar to be able to
view all of them.

Font Settings

Select Application Font

Opens a dialog where you can select the font to be used in the application.

This includes 6 of the most commonly used Windows Fonts.

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Current Font Base Size

Allows you to set the size of the selected font.

Network Settings

My IP
IP address of your GUI computer.

My Device ID
Device ID of this GUI. All devices in a production must have a unique device ID.
The Device ID is generated from the last byte of the GUI IP address + 1000.

Main Unit IP
IP address of the currently connected main unit.

Different Header Colors

When your GUI works in a network with multiple Dyvi systems, it is a good idea to use different header
colors for the IP addresses of the main units of the individual systems. So, you can see at a glance
whether you are connected to “your” system or to a different one.

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Monitoring Settings

Show Processing Module Resource Information

This information will be displayed in the bottom left corner of the screen below the top-level navigation
bar. When active, the GPU load per processing module is displayed.

Other monitored parameters per processing module are:

• Receiving bandwidth

• Sending bandwidth

• Number of GPU input signals

• Number of GPU output signals

• Number of GPU low resolution input signals

• Number of GPU low resolution output signals

• Number of simultaneously used stills

• Number of GPU buffers.

GPU Processing Time

You can display the GPU load in milliseconds or in percent.

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Show Additional Critical Information

You can decide to monitor the most critical parameter that exceeds 60%, 80%, or 90% of the maximum
load.

If at least one of the parameters exceeds the threshold, then the name of the processing module will
turn yellow (> 60%), orange (> 80%) or red (> 90%) accordingly.

Show Live Thumbnail in Navigation Bar

When enabled, a live thumbnail is displayed below the top-level navigation bar.

Open Status Message List

Shows all critical parameters of the system. This list can also be accessed by clicking the warning icon in
the header bar of the main window.

Click Show All Licenses to open the License Status list (see below) and see the information about all
Dyvi licenses, the permanent Dyvi licenses without expiration date, the temporary Dyvi licenses whose
expiration date is still more than 31 days in the future, and the temporary Dyvi licenses whose expiration
date is less than 31 days in the future.

Open License Status List

Shows the status and expiration date and time of your temporary and permanent Dyvi licenses. You can
derive a license’s status from the icon that precedes the license name.

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If your temporary licenses are still valid and their expiration date is still more than 31 days in the future,
the licenses appear in the list with a blue information icon. Permanent licenses are also displayed with a
blue information icon, but then without expiration date.

If your temporary licenses are still valid, but their expiration date is less than 31 and more than 10 days in
the future, the licenses appear in the list with a yellow warning sign. The yellow warning sign also
appears in the header bar of the main window.

If your temporary licenses are still valid, but the expiration date is less than 11 days in the future, the
licenses appear in the list with a red warning sign. The red warning sign also appears in the header bar of
the main window.

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Import/Export Settings

Export GUI User Settings

Export GUI user settings to a file.

The following settings are exported:

• Settings from the GUI Config menu

• Direct production load shortcuts from the Production Overview menu

• User presets from the Panel Assignment menu

• Docking window layout presets from the Scenes menu

• Trace output from the Scenes-Overview window.

Import GUI User Settings

Import user settings from a file.

A checkbox allows you to back up the current setting before import.

Reload GUI Factory Settings

Resets the window layout presets to factory default of all menus.

A checkbox allows a complete clear before reload.

Another checkbox limits the reload to the Scenes menu only.

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Import of Meta Data
The Dyvi system can display external text information and, if desired, insert this information at a certain
time, triggered by text files. The format can either be plain text in a file with the name
DyviControl.txt or in XML-format in a file with the name DyviControl.xml. The files have to be in a
directory specified in the Import Path. This path has to be accessible from both the GUI and the external
computer which writes into the files. If Check Files is enabled, the GUI will check the files once every
second for a change and perform the desired actions accordingly.

Possible actions are:

Text Changes for up to Eight Text Objects

You can create these Text Objects via Production Setup / Global Sources: simply drag a Text from
Internal Sources using the Toolbox (right pane). Adapt font, size, color and position via Parameter
Control (right pane). Via the shortcut menu on the created Text Object you can define this Text as
MetaData-Text 1-10.

Triggers for up to Eight Different Transitions

Via the shortcut menu on any transition in the Scenes / Transitions window you can define this transition
as MetaData-Transition 1-10.

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Example for DyviControl.txt:

[TEXT]
1 = my text-1
3 = my text number three

[TRANSITION]
5 = TOGGLE
1_DURATION = 25
1_LIFE_TIME = 3000
1_TRIGGER_COUNT = 17
1 = AUTO

For text changes, the section starts with “[TEXT]”.

“1 = text-1” will set MetaData-Text-1 to “my text-1”. You can use spaces, tabs, or quotes for the text. It is
important to use a new text line per action.
1=my text-1
1 = my text-1
1 = “my text-1”
will have the same result.

For triggering a transition, the section starts with “[TRANSITION]”.

There are four modes to trigger a transition:

• TOGGLE
The transition will be triggered. The layer will go in or out, depending on the previous state.

• IN
The transition will only be triggered when the layer is out

• OUT
The transition will only be triggered when the layer is in

• AUTO
The transition will be triggered twice, the first time immediately (only if the layer is out), a second
time after LIFE_TIME milliseconds.
When LIFE_TIME is not defined, a default value of 3500 ms is used.

As well as triggering a transition, you can set:

• the transition duration with “X_DURATION=25”

• the OnAir-time in AUTO-mode with “X_LIFE_TIME=3000”

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X_TRIGGER_COUNT
This parameter can be useful when you manually edit the text file. Normally the complete script is
executed every time the file is changed. When you just want to update a MetaData-Text without
triggering the transitions, you would have to remove these lines and insert them again the next time you
want to trigger the transitions. To prevent transitions being triggered every time you can add a line with
the TRIGGER_COUNT. The respective transition will only be triggered when the count is changed.

The same example for DyviControl.xml:

<?xml version="1.0" encoding="UTF-8"?>

<Dyvi>

<TEXT
TX1 = "my text-1"
TX3 = "my text number three"

>

</TEXT>

<TRANSITION
TR5 = "TOGGLE"
TR1_DURATION = "25"
TR1_LIFE_TIME = "3000"
TR1_TRIGGER_COUNT = "17"
TR1 = "AUTO"

>
</TRANSITION>

</ Dyvi >

In accordance with XML syntax, all values must be in quotes.

The Text indices start with TX1 – TX8, the Transition indices start with TR1 –TR8.

About

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2.11.10. System Configuration

Enabling HQ Filtering for 2D Transformations
High quality (HQ) filtering mode can be enabled in the System Config menu of the GUI.

With HQ filtering enabled, all 2D Transform effects in a production have improved image quality during
video transformations such as translation, rotation & sizing, but the video processing load is higher. For
more information, please refer to "2D Transform" on page 78.

Importing and Exporting Environments

The System Config menu allows you to create a backup of your system environment and export it in the
form of an XML file. You can restore your system environment at any given time by importing the XML
file again.

The environment XML contains the following information:

• the physical input and output SDI streams

• the IP addresses of the Network Interface Cards

• the IP addresses of the physical input and output IP streams

This feature is especially useful in an IP environment. It prevents you from having to reconfigure the
IP addresses of all physical input and output IP streams.

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 • The IP addresses of the Network Interface Cards (NICs) are exported, but cannot be
imported. NIC addresses are persistent data.

• The Export Environment button is grayed out if there is no environment object to export.
An import is still possible.

2.12. Hardware Setup Menu

2.12.1. Introduction
The Hardware Setup menu consists of the following 5 sub-menus:

• Standard & Timing

• Physical Inputs

• Physical Outputs

• External Devices

• Aux Panels.

2.12.2. Standard & Timing

The Standard & Timing menu provides an overview of the current video standard, field dominance,
reference input, and genlock (for SDI) or PTP (for IP) status of the individual processing modules.

The current software version does not yet support a change of the video standard via this menu. You
can change the video standard via the Supervisor web interface (see the Dyvi Technical Reference
manual).

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SDI Standard and Timing

It allows you to shift the individual SDI outputs relative to the reference.

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IP Standard and Timing

Regarding PTP, we are compliant to SMPTE ST-2110-10, so DYVI will never act as a Grandmaster Clock
on its own.

Cluster Sync Status

In a Dyvi cluster, the video timing synchronization between the main unit and every extension unit over
the high-speed LAN is measured. It is essential for a cluster that all units are in sync. The cluster sync
state is only indicated for extension units.

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The following cluster sync statuses can be distinguished :

Status Status Sign

In Sync green sign

Unknown yellow sign (warning)

In Progress yellow sign (warning)

Out Of Sync red sign (error)

Sync Lost red sign (error)

A possible check for changing the cluster sync status is to use the command 'sg.sync 500' in tmux a in a
mainframe terminal shell. With this command the status changed for 5 seconds to 'In Progress'.

The yellow & red alerts of the cluster sync state are also indicated in the system status message list. See
section "System Warnings" on page 16.

2.12.3. SDI Inputs and Outputs

Physical SDI Inputs

The SDI Physical Inputs window provides information about the input signals that are being received by
the Dyvi, their Status and the Video Standard.

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Physical SDI Outputs
The icon of a physical output turns green (as in the 'Standard & Timing' menu), if the output source is not
'none'.

It is possible to add a delay here to the individual outputs, and to increase or decrease the audio volume.

2.12.4. Live IP Input and Output Configuration

In order to be able to work with IP in a live production, various elements require configuration. The first of
these are the unicast IP addresses of the hardware. This is done through the GUI.

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The next step is to ensure that unique unicast and the multicast addresses are set for the physical inputs
and outputs of the network interface cards and to set the payload. These are configured through the
GUI.

The PTP profile, domain and reference also have to be specified. This is critical for operation in SMPTE
2110. The PTP settings are defined in the Supervisor, but then need to be enabled on the switch and on
each port. A restart is also required after configuration in the Supervisor.

Finally you will need to check that the relevant input and output streams have been enabled.

Configuring the Unicast Addresses of Live IP

Interfaces
Unicast addresses are unique addresses that are used for the interface cards on the network. The
physical input unicast addresses are configured manually.

How to Configure the Unicast Addresses of Live IP Interfaces

To configure unicast addresses, in the GUI:

1. Navigate to Hardware Setup.

2. In the bottom menu, select Physical Inputs.

The list in this window displays all the network interface cards and their associated video streams.

3. Right-click the interface card to be configured. A pop-up window is displayed.

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4. Enter the IP-Address, the Netmask subnet mask and the default Gateway of the corresponding
interface and confirm by clicking on Ok.

Subsequent network card configurations will have the same netmask and gateway.

It is only possible to update the following fields:

• IP address

• Subnet mask

• Default gateway

The following additional information is view-only:

• PTP status (Connected, Listening or Unknown)

• MAC-Address

The Diagnostics tab provides information about the number of packets received and the
packet errors.

Multicast Addressing
Both input and output multicast addresses have to be configured. They are accessed through the
Hardware Settings window, by selecting the respective Physical Inputs or Physical Outputs tabs. The
output addresses are configured manually and normally this is required once only. The input addresses
will most probably need to change. Physical inputs can be configured either manually or automatically
using Ember+. Each board has 8 inputs and 4 outputs.

NMOS is not currently supported for automatic configuration. When using Ember+, more
information can be found in the S-CORE Master user manual.

It is recommended to use a unique address for each stream wherever possible, as this makes
it easier to debug.

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How to Configure the Live Multicast Output Addresses

1. Navigate to the Hardware setup, Physical Outputs tab.

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2. Double-click on a physical output to edit the output. A pop-up window will open.

3. Enter the Payload Type, Multicast Address, the multicast Port and Session Name.

4. Click on Ok to save the configuration.

It is only possible to update the multicast address, multicast port, payload type and session
name fields. The following additional information is view-only in the Hardware tab:

◦ video standard

◦ bit depth

◦ sampling structure

◦ multicast parameters.

The SDP field will only be completed when driving the system with Ember+, through a control
system.

Supervisor (Web) Configuration

The Dyvi Supervisor is a web interface on the PMY (management port). It can also be accessed with a
screen and keyboard during start-up. This will interrupt the normal start-up procedure.

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The live IP-related settings configured in the Supervisor are the PTP Profile, the PTP Domain and the
Reference Input.

How to Configure the IP Settings in the Supervisor

1. Click on the DYVI-Settings tab in the lower part of the Devices window. The following pane will
open:

2. Select and enter the PTP Profile, PTP Domain and Reference Input as required.

3. Click on the Main Menu button to return to the initial screen.

Troubleshooting
In the event of errors, it is recommended to check the PTP status and SDP message.

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Checking the PTP Status
The PTP is a critical part of the setup, as correct synchronization has an impact on a number of
parameters, some of which are hidden.

How to Check the PTP Status

1. Open the Dyvi GUI on the PC.

2. Open the Hardware setup (on the left).

3. Click on the Inputs or Outputs tab (lower left of the window).

4. Right-click on a network interface card, to open the pop-up window.

There are three possible PTP statuses:

State Description

Connected Locked to PTP

Listening Trying to synchronize with the PTP

Uncalibrated Error state, not locked to the PTP

Checking the SDP Message

The SDP message contains information that describes the session, timing and media, and is used to
support streaming applications. Changes made to the payload type, port or multicast address will be
updated dynamically in the SDP message fields.

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How to Check the SDP Message

1. In the Dyvi GUI, go to Hardware Setup.

2. Select the Physical Outputs tab.

3. Double-click one of the output streams to open the pop-up window.

4. Select the text in the file to be able to see it entirely. When processing the profile, ensure that the last
line is left blank, as some devices require this message to end with a blank line.

Configuring Physical IP Inputs

Physical IP inputs can be configured manually, as explained here, but can also be configured through an
automation or management system using Ember+.

For more information about configuration with Ember+, please refer to the SCORE Master
manual.

How to Manually Configure IP Inputs

1. Open the Hardware Setup menu and select Physical Inputs at the bottom.

The available physical IP inputs will be displayed.

2. Double-click the input you would like to change.

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 A new pop up window will open.

3. Enter the correct value for the multicast address and port and optionally give a session name.

4. Click OK to return to the previous screen.

5. Click Apply to apply the new settings.

6. Enable the input.

The SDP field will only be completed when you are driving the system with Ember+ through a
control system.

Configuring Physical IP Outputs

Configuring physical IP outputs works in exactly the same way as configuring physical IP inputs. See
above.

How to Configure Physical IP Outputs

1. Open the Hardware Setup menu and select the Physical Outputs tab.

The available physical IP outputs will be displayed.

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2. Double-click the output you want to modify.

A new window will open as shown below:

3. Enter the correct value for the multicast address and port and optionally give a session name.

4. Make sure that all outputs have a different multicast address and/or different port.

5. Click OK to return to the previous screen.

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6. Click Apply to apply the new settings.

7. Enable the output.

The SDP field will be filled automatically by setting the multicast address.

Assigning Physical IP Inputs

How to Assign Physical IP Inputs to Logical Inputs
1. Open the Config menu and select Global Sources at the bottom.

2. In the Global Sources pane on the left, open the Inputs folder.

3. Open the Physical Sources tab in the pane to the right.

4. Open the IP Inputs folder.

5. Drag the desired IP input from the right to the left pane and drop it in the IP Inputs folder.

The physical IP source will appear below the point you dropped it.

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Monitoring Physical IP Inputs

The status of the individual physical input IP streams can be monitored.

The following statuses can be distinguished :

Status Status Sign

Not Supported red sign (error)

Mixed Input red sign (error)

Not Matching red sign (error)

Missing Packets yellow sign (warning)

No Signal yellow sign (warning)

Signal OK no sign

Unknown no sign

Disabled no sign

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In case of a missing IP source signal (missing cable or signal flow), this will be immediately visualized on
the control panel.

2.12.5. External Devices

Introduction
This submenu works closely together with the External Devices main menu. Devices that are added in
this submenu will later appear in the External Devices main menu where they can be operated. See
section "External Devices Menu" on page 180.

The External Devices submenu allows you to add different types of external devices to your production,
such as:

• VTRs (K2 Device, XT3 Server)

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• Serial Control Devices (Moxa boxes)

• GPI/GPO Devices (the two boxes BFE and LAWO are predefined)

• Character generators (Ross XPression Device)

• IP-Controls (Telnet or network device)

◦ Telnet: A Telnet device is an external device that can be controlled via the Telnet protocol, a
protocol used on the Internet or local area networks to provide a bidirectional interactive text-
oriented communication facility using a virtual terminal connection.

◦ Network Device: A network device is an external device that can be controlled via a TCP or UDP
connection (raw socket data transfer).

Adding an External Device

To add an external device, drag and drop it from the Device Types pane to the Device pane.

A green plus sign appears as soon as you hover above a zone where you can drop the option.

A new line appears below the PM. The following properties of the devices can be configured: IP-
Address, Port, Status, Channel, Video Input.

The protocol of certain devices will be automatically set.

To set the IP address and port number, do one of the following:

• Double-click the relevant field to open the dialog and enter the appropriate value. It is also possible
to change the type of the protocol and/or port number in this window or to connect the device.
Select Ok to confirm the changes.

Right-click the relevant field, select Set… and enter the appropriate value.

• To establish a connection with any device, right-click the Status field and select the option Auto
Connect.

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Selecting Video Inputs

SDI Video Inputs IP Video Inputs

To select a video input, right-click the relevant video input field to see the contextual menu and select as
required from the list of available inputs.

K2 Device
The AMP protocol will be automatically set.

When adding a K2 device, 4 channels are automatically generated, from K2-CH1 to K2-CH4.

We recommend connecting Dyvi through AMP only on Grass Valley K2 channels that are configured for
clip 'Playback' only.

• The port number is automatically set to 3811.

• The K2 channels are connected when the option Auto Connect is selected.

Network Device
• In the case of a network device, set the IP address to be the IP address as target control device.

Telnet Device
• In the case of a Telnet device, the port number is automatically set to 23.

Ross XPression
You can configure several Ross Xpression Devices with the same parameters that will control the same
Ross Xpression character generator.

If the Ross XPression character generator gets disconnected, because it has been shut down, or
because the TCP port got reconfigured, the Dyvi system will recognize the disconnected status after
sending a command a second time and will adjust the connection status to try to automatically
reconnect to the Ross XPression device.

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If, however, the Ross XPression character generator gets physically disconnected from the LAN, the
Dyvi system will not automatically recognize the disconnected status, or only recognize it much later
depending on the TCP parameter settings of the involved devices. You will have to manually disconnect
and set to Auto Connect again to see the actual connection status.

GPIO Devices
Please refer to the BFE or LSB Technical Notes to find more information about how to configure the IP
address of these devices.

Dyvi supports the PixTally protocol. Image Video also integrates the PixTally protocol. Please refer to the
Dyvi Technical Reference manual to find out about Image Video – Dyvi integration.

If you want to develop your own tally implementation, please contact EVS Support for more information.

2.12.6. Aux Panels

Introduction
The Aux Panels submenu allows you to create, connect and configure one or more AUX-panels.

The Dyvi system allows you to connect via USB one or more external AUX-panels to any processing
module, control panel or GUI PC.

The following two Aux-panel types are supported:

• XKeys XK – 80 (with 80 buttons – 10x8)

• XKeys XK – 16 (with 16 buttons – in one row).

How to Create a New Aux-Panel

1. Do one of the following:

◦ Right-click in the AUX Panels pane.

◦ Click + in the bottom toolbar of the AUX-Panels pane.

2. Select New AUX-Panel.

3. Select the type of AUX-panel.

4. Right-click the new AUX-panel, select Connect and select the relevant device.

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Active AUX-panels are indicated in this pane by a green dot.

The currently selected AUX-panel is displayed in the AUX Panel pane.

If more Aux-panels are created than can be displayed at the same time in one pane, additional pages will
be created automatically.

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Configuring an AUX-Panel
The buttons of an AUX-panel pane can have different functions. To configure a particular button, right-
click it and select one of the following command in the shortcut menu:

Configure As
• Undefined Button (white)

Select to clear a button completely.

• Delegation Button (blue)

Set a button as a delegation for sources (e.g. a layer content).

• Delegation SHIFT Button (violet)

If more delegation buttons are needed than available, a shift layer will be created.

• Select Button (red)

Sources that are delegated by a selected delegation button.

• Select SHIFT Button (orange)

If more source buttons are needed than available, a shift layer will be created.

• Macro Button (green)

Assign to run macros from the AUX-panel.

• Macro SHIFT Button (cyan)

If more macro buttons are needed than available, a shift layer will be created.

Clear Button Reference

Keeps the function of a button and clears only the content.

Clear User Button Color

Sets a user changed color of a button back to the default color.

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Set User Button Color
Changes the color of a single button.

Assignment
Offers the possibility to Clear All (the whole AUX-panel is cleared), Copy or Paste a button.

To define a function for a button, just drag and drop the appropriate content from the Destinations or
Sources pane.

Destinations
The destination buttons are used to define a delegation for the sources.

To set a delegation, do one of the following:

• Drag and drop the delegation onto the top row.

This is the easiest way if only one delegation is needed.

• Drag and drop the delegation onto a button.

a. Right-click any available (white) button and select Delegation Button.

b. Drag and drop the delegation onto the button.

c. Right-click the button and select Rename to change the name.

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Sources
Defines the sources that can be chosen for a selected destination. Macro play commands can also be
placed as sources.

1. Drag and drop a single source or a list of sources to the relevant buttons.

The figure above shows the desktop version of one AUX-panel with 80 buttons and one AUX-panel
with 16 buttons.

2. Right-click and select Rename to change the name of the button. It is also possible to choose from a
variety of icons.

To provide access to more delegation/sources/macros, you can configure shift buttons for all these
groups.

The graphical representation of the panel can also be used for active switching, even if not connected to
a physical panel. When you select a bus delegation it shows in the top display the current source
selection.

It is also possible to change the color of each button individually. Select Set User Button Color to
access the color menu.

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2.13. Status Menu

2.13.1. Introduction
The Status menu displays general information like software versions, temperature or the resources
overview of the whole system.

The menu consists of 3 submenus:

Submenu Please refer to:

Status Info "Status Information" on page 270

Resources Overview "Resources Overview" on page 271

Production Overview "Production Overview" on page 273.

2.13.2. Status Information

The Status Information menu displays all available status information such as temperature, fan speed,
software version, etc.

You can filter by certain info types using the All, Software Versions, Firmware Versions and
Temperature buttons.

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Warnings can be temporarily disabled via Show Warning Sign in Header. All current warnings are
displayed via Open Status Messenger Dialog.

2.13.3. Resources Overview

Introduction
Dyvi is a decentralized system that can have processing modules in multiple locations. For image
processing, the video signals have to be routed between the individual processing modules.
Connections between processing modules can have different bandwidths, 40 or 50 Gb for local
connections.

The Resources Overview menu shows this network with all processing modules of the current
production.

The inner circle shows the current sending bandwidth per module, the outer circle the receiving
bandwidth.

Resource Overview Dialog Box

To see more detailed information about a processing module, click it to open the relevant Resource
Overview dialog box.

The Resources Overview dialog box can also be opened at any time by clicking on the GPU load meter in
the bottom left corner of the top-level navigation bar or on the text PM above it.

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The dialog box shows the current state of the resource parameters compared with their maximum load.

Receiving / Sending Bandwidth

This parameter only appears for a system with multiple PMs.

The network bandwidth between the individual processing modules is displayed. Local ones are
normally connected with 40 or 50 Gb connections. The minimum network bandwidth for remote
connections is 10 Gb.

GPU Inputs
Number of full resolution input pairs (video & key). A maximum of 16 inputs are possible.

GPU Outputs
Number of full resolution output pairs (video & key). A maximum of 16 outputs are possible.

GPU LowRes Inputs

Number of low-resolution input pairs (video & key). Low-resolution inputs are used for multiviewer
outputs with less than ¼ in size and for GUI live-streams. A maximum of 32 inputs are possible.

GPU LowRes Outputs

Number of low-resolution output pairs (video & key). Low-resolution outputs are used for multiviewer
outputs with less than ¼ in size and for GUI live-streams. A maximum of 8 outputs are possible.

GPU Buffers
Special memory used by the GPU, depends on the complexity of scenes. A maximum of 120 buffers are
possible.

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Stills
Total number of stills currently active in this GPU. A maximum of 10 stills can be provided by the GPU at
the same time.

2.13.4. Production Overview

The Production Overview menu provides an overview of all macros and all timelines used in the current
production. Active macros/timelines are displayed in yellow.
The current software does not display Scene macros in this dialog.

You can stop all macros and all timelines with their respective Stop All button.

Selected macros or timelines can be played/stopped either with their respective Play/Stop button or by
pressing the spacebar on the keyboard.

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3. Control Panel

3.1. General Panel Structure

At first sight, the button layout of the control panel looks like a classic 2 ME bank control panel.

However, since the flexibility of the Dyvi-system allows you to define a different functionality per button,
you can create panel layouts which are actually more powerful than a classic 4ME bank control panel.
See section "Panel Assignment" on page 214.

The basic panel consists of a crossbar area with 8 rows of 24 buttons each (green)
and 2 transition areas (blue).

Each transition area consists of a number of buttons, a lever arm and a touch screen display.

The upper transition area also provides 4 digipots.

The basic panel can be expanded with up to 4 crossbar extensions (8 rows of 8 buttons each).

These crossbar extensions can be mounted on either side of the basic panel (maximum 2 per side).

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Default Panel Layout

This manual describes the panel use referring to the Factory Default layout. This layout is automatically
generated when creating a new production (See section "Productions Menu" on page 31) or when the
system is reset (Auto Production).

Item Description

1. Gradient buttons. These buttons change their color with the delegation.

2. Delegation of stages 1-3. All areas marked with an asterisk will be updated.

3. Macro Record and Delete buttons

4. Deep transition top, Key PVW top, Key PVW bottom, Deep transition bottom

As the panel is entirely flexible, the default layout can be modified to move, remove or add functions.

Please refer to section "Panel Assignment" on page 214 to see how to modify area/function assignment.

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3.2. Operations

3.2.1. MainScene
Program (PGM) / Preset (PST) Bus
The two bottom rows of the panel represent the Program (red) and the Preset (white) Bus. This is the
background of the MainScene.

If there are more video signals than buttons delegated to the PGM/PST Bus, the additional video signals
will be automatically allocated to one or more additional levels and a Shift button is automatically
created at the end of the row. By pressing this button, you can navigate page-by-page forward through
the levels.

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Within the PGM/PST Bus you can switch between the video signals that you want to broadcast. The
video signal that is currently being transmitted is indicated by an illuminated button. The video signal
that is preselected on the PST Bus is also lit up.

Besides cutting between video signals directly on the Program Bus, you can also do a transition between
a video signal from the Program Bus to a video signal on the Preset Bus.

During the transition, the video signal selected on the Program Bus will be the current video stream that
will change to the video signal selected on the Preset Bus by doing a Background transition.

How to Perform a Transition

The following possibilities are available for executing the transition:

• The background transition can be triggered by using the direct Cut (red) or Auto (white) buttons of a
transition including exclusively the background (often the leftmost in the 2 lines of 6 buttons under
the bottom screen).

Cut will execute the change of the video signals by a simple change of the video signal between the
Program and the Preset Bus with a duration time of 0 frames.

Auto will execute a defined transition like a mix, wipe or 2D/3D-transition within a defined duration
time.

• The background transition can also be selected on the touchscreen. By touching in the transition
area, it turns red and then becomes the ‘Next Transition’.

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• It is also possible to perform this ‘Next Transition’ by pressing the Cut or Auto buttons under the
fader, or by manipulating the fader (which has a similar function as an Auto but with a manual time
control).

The PGM/PST Bus works as a flip/flop, so that the background always switches from the PGM Bus to the
PST Bus. When the transition is finished, the selected cross-points will be interchanged.

For more details on transitions (duration, type, combination, etc.), please refer to "Modifying the
Parameters of a Transition" on page 291.

Layers
Layer Areas
In the default configuration, there are two Layer areas defined on the panel.

Area number 1 is defined as the Layer area of both Stages, area number 2 is defined as the Layer area of
the MainScene.

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Creating Layers
Double-press an empty (dark) button within the area of the existing Layers to automatically create a new
Layer.

The color of a button to which a Layer is assigned will change from dark to the button color defined in
the GUI (green here).

Within a defined Layer area, it is possible to create as many Layers as desired. If there are more Layers
or layer sources than buttons delegated to the area, the additional Layers and sources will be
automatically allocated to one or more additional levels and a shift button is automatically created at the
end of the row. By pressing this button, you can navigate page by page forward through the levels.

The created Layer first has no sources and no defined transition. To configure the new Layer, please
refer to "Layers" on page 304.

By default, the new transition is of the Mix type and has a default duration of 15 frames.

Layers can also be created / managed in the GUI, please refer to "Layers" on page 45.

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Assigning a Source to a Layer
To assign a source to a Layer, first press the desired Layer button (1).

Then press the desired source button on the Layer Source row (2).

The selected Layer button and the corresponding Layer Source button will light up brighter than the
other buttons.

Executing a Layer Transition

Like a background transition, it is possible to execute a Layer transition in different ways.

The operation is the same in the Stages and in the MainScene. The Layers located in the MainScene are
called DSKs or Downstream Keyers.

1. Select a Layer and switch between the sources on the Layer-Input-Bus to change the content of the
Layer with a cut (default configuration).

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2. A transition is defined to each of the five Layers, where each Layer can be put on air by either
pressing the CUT (upper row) or the AUTO (lower row) button.

The red bar indicates that a Layer is on air.

3. The Layer transition can also be selected on the touchscreen. By touching into the black area, it
turns red and then becomes the ‘Next Transition’. It is then possible to perform this ‘Next Transition’
by pressing the Cut or Auto buttons under the fader, or by manipulating the fader (which has a
similar function as an Auto but with a manual time control) next to the Touchpad to put the Layer on
or off air.

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 It is also possible to control more than one Layer at the same time by touching them on the
Touchpad simultaneously or by holding one of them while selecting the others one after the other.

If there are more than 6 transitions, they will appear in a second row above.

To execute a transition from the upper row, simply tap it to select it and use the fader or the Next
Transition Auto or Cut button underneath the fader.

Deleting Layers
In the Layer area, double-press the Layer button of the Layer you want to delete. An overlay menu
appears in the Top Transition module of the Control panel.

Tap the Delete button to delete the Layer.

The deleted Layer will disappear from the Bottom Transition module. All other Layers will move to the
left to close the gap that occurred. The corresponding button in the Layer area will turn dark again.

To exit the menu, click the red cross.

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Copying Layers
In the Layer area, double-press the Layer button with the Layer you want to copy. An overlay menu
appears in the Top Transition module.

Tap the Copy button to duplicate the Layer.

In the Layer area, the duplicated Layer will be assigned to the button which is positioned directly to the
right of the button with the original Layer.

A duplicated Layer will take all input sources and all defined parameters of the original Layer, but no
transition will be created in the Bottom Transition module.

To exit the menu, click the red cross.

Changing the Priority of Layers Within the Layers Stack

In the Layers area, double-press the Layer button of the Layer you want to change the priority for. An
overlay menu appears in the Top Transition module.

Tap the left or right arrow to change the priority of the Layer within the Layers stack.

Tapping the arrow to the right will move the Layer further up the stack, and tapping the arrow to the left
will move it lower down. The button of the Layer will move within the Layer selection areas but not within
the Transition modules.

To exit the menu, click the red cross.

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Changing the Parameters of Layers
In the Layers area, long press the Layer button with the Layer whose parameters you want to modify. An
overlay menu appears in the Top Transition module.

You can use the digipots next to the parameters to adjust the following parameters:

Opacity
Turn the corresponding digipot to gradually increase or decrease the opacity. Press the digipot to open
a numeric pad with which you can type the exact level of opacity.

MixType
Turn the corresponding digipot to change the mixType between multiplicative and additive.

z_priority
z-priority changes the priority of the Layer. You can either turn the corresponding digipot to change the
priority of the Layer, or you can press it to enter the exact level of priority using the numeric pad that
appears.

Dissolve Time
Setting the dissolve time to “0” will do a cut between the Layer sources by switching on the Layer Bus.
Setting the dissolve time will execute the switching on the Layer Bus by a mix with the defined time in
frames.

Instead of using the digipots, it is possible to press the digipot of the desired function and change the
parameters by using the numeric pad. Press Def. to set the default value.

Confirm the entry with OK.

To exit the menu, click the red cross.

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Modifying Layer Filters and Keyers

In the default configuration of the panel, there are no further parameters attached to a Layer. To attach
an effect to a Layer, refer to section "Layers/Effects Tab" on page 60.

If a Layer consists of more than just a source, for example if there is an attached keyer (Chroma,
luminance or extern) or a 2D- or 3D-Transform, these parameters are also shown in the overlay menu
and can be controlled there.

Tap the desired effect to change its parameters.

For each Layer effect, a new menu will open where it is possible to change the corresponding
parameters.

In this example, it is possible to adjust the following effects:

For a crop, it is possible to adjust top, left, bottom and right by turning the digipots or pressing them to
access the numeric pad.

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For a 2D transform, either the position of x and y, rotation and size can be adjusted.

The rotation speed can also be adjusted (after setting Rotation Speed to on).

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For adjusting a Layer with an attached Chroma Key, the following options are available on different
pages and can be accessed by tapping the appropriate option of the four horizontal boxes.

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The parameters can either be changed or controlled by turning the digipods or by pressing them to
access a numeric pad.

The blue arrows enable you to move within the overlay menu.

To exit the menu, press the red cross.

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Bottom Transition Module

Executing Transitions
The Bottom Transition module shows all possible and directly accessible transitions of the MainScene.

In the default configuration, these are: background and five DSKs.

It also shows the name of the current production (here: NewProduction) and the current scene (here:
MainScene).

In the bottom part of the display you see a row of six transitions. These transitions correspond to the six
Cut/Auto button pairs below the display. To execute a transition there are two possibilities:

• Press the Cut (upper row) or Auto (lower row) button below the display.

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• Execute a transition as the ‘Next Transition’. You can select a transition by touching it on the
touchpad and use the lever arm or the Cut/Auto button beneath the lever arm.

The color of the horizontal bar below the Layers name shows whether the layer is Off (yellow, e.g. DSK1
- Mix) or On (red, e.g. DSK3 - Mix). During Auto-transition, the progress of the transition is shown within
these bars.

To execute multiple transitions at the same time, you can use ‘Next Transition’. On the touch pad, hold
one of the desired transitions and then select all the others by tapping them one by one, or tap all
desired transitions simultaneously.

To execute the multi-transition, you have to use the fader or the Cut or Auto button beneath the fader.

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If more than six transitions are defined for a scene, a second and a third row is displayed on top of the
first one. Since only the first six transitions correspond to the Cut/Auto buttons beneath, you can
access these extra transitions via selection (single or multiple) and execute them by using the fader or
the buttons CUT or AUTO.

Up to 18 different transitions can be operated within the Bottom Transition module.

By default, every transition is defined with a time of 15 frames and as a mix-Type.

The priority of the DSKs is from low to high (DSK1 to DSK5). Consequently DSK1 will be the lowest Layer
and DSK5 will appear on the top.

The vertical and horizontal bars within the transition module show the progress of the transition
executed by the fader.

Modifying the Parameters of a Transition

All overlay menus will exclusively appear on the Top Transition module.

All parameters of Layer transition types can be accessed by long-pressing the appropriate Layer on the
touchpad.

Modifying a Mix
To control the type of a transition, long-press the appropriate transition on the Bottom Transition
module.

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If the transition type is a Mix, the following overlay menu appears in the Top Transition module:

Turn the digipot to gradually increase or decrease the duration of the Mix. Press the digipot to open a
numeric pad allowing you to type the exact duration time. Confirm the entered duration with OK.

The blue arrow shows the direction of the transition (more obvious if more than one transition is
delegated to one Layer). For more information, please refer to section "Transitions" on page 94.

Touch the green Mix field to access the curve parameters.

Tap the Curve field at the top of the overlay menu to open a window which allows you to adjust the
curve parameters.

Offset (Default 0.00%)

Sets the start of the transition after pressing Auto or using the fader for a transition. It is either possible
to turn the digipot and gradually increase or decrease the offset, or to press it and type the amount for
the offset using the numeric pad that appears.

Length (Default 100.00%)

Sets the length of the transition after pressing Auto or using the fader for a transition. It is either possible
to turn the digipot and gradually increase or decrease the length, or to press it and type the exact length
for the offset using the numeric pad that appears.

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Type (Default Linear)

Sets the type of curve after pressing Auto or using the fader for a transition. Turning the digipot enables
you to choose from ten different types of transitions, as described below.

Modifying a 2D-Effect
By default, all transitions are set to Mix.

If the transition type is a 2D effect (in this case a wipe), the following overlay menu appears in the touch
pad of the Top Transition module:

Turning the digipot will gradually increase or decrease the duration of the 2D effect.

Pressing the digipot will open a numeric pad allowing you to type the exact duration. Confirm the entry
with OK.

Tap the Wipe field to access the following Wipe parameters:

Tap the desired type of wipe to change the pattern.

The digipots always control the parameters of the red marked areas. To change parameters,
turn the digipots or, where possible, press the digipot to access the numeric pad. Confirm your
entry with OK.

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By pressing the Curve option, a window will open where you can change the curve parameters. They are
similar to the parameters of a mix transition.

Modifying a 3D-Transform
If the transition is of the type 3D-Transform, the parameters are the same as those of a mix.

The blue arrows you to move within the overlay menu.

Depending on the type of 2D or 3D effects, different parameters can be changed to control the effect.

For more information concerning 2D or 3D parameter control, please refer to "Parameter Control" on
page 62.

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Delegation Buttons in the Bottom Transition Module

The three delegation buttons next to the Bottom Transition Module and beneath the fader determine the
function of the module. By default, the bottom Delegation buttons are inactive, but it is also possible to
delegate any Stage to the Bottom Transition module.

In the case of a different Stage being delegated, the color of the delegation buttons is identical to the
color of the delegated PGM-button-row-area. Also, the fader’s light will change its color corresponding
to the selected Stage.

To attach or change a delegation refer to section "Section Delegation" on page 225.

Buttons Alongside the Bottom Transition Module

Various switcher functions can be delegated to the four vertical buttons to the left of the Bottom
Transition module.

In the default configuration, the upper two buttons are delegated to the Stages and the lower two ones
belong to the MainScene.

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Show Deep Transition
The top button has the function of a Show Deep Transition.

When the button is not pressed, the Top Transition module only shows the transitions of a selected
higher-ranking scene.

When the button is activated (pressed), it will light up brighter and show all transitions involved in a
composition of a scene in a stage. This includes transitions of the currently delegated scene as well as
the transitions of all subscenes which are selected as a source in any layer of the scene.

To access the upper transitions, touch one or more transitions on the touchpad and execute via CUT,
AUTO or the fader.

The fourth button has the same function for the MainScene.

If pressed and a scene is selected on the PGM-bus of the MainScene that also has subscenes, the
transitions of the subscenes will also be shown above the transitions of the MainScene.

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In the above image, Stage1 is selected on the MainScene PRGM-bus. By selecting Stage2 on the PGM-
bus of Stage1, it is even possible to display and access the transitions of the Stage2 also on the Bottom
transition module, as it is possible to display 18 transitions in total.

All of these transitions can be accessed and controlled by pressing one or more transitions on the
touchpad and executed via CUT, AUTO or the fader.

Key Preview
The second button activates the Key Preview signals of the Top Transition Module. Pressing the button
repeatedly toggles through all Key signals of Chroma Key - or luminance key-effects existing in the
delegated scene. If Show Deep Transition is enabled, the key signals of subscene effects are also
included.

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The third button is the Key Preview button for the MainScene in the Bottom Transition Module.

The key signals are visible on the respective preview monitor of the multiviewer.

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3.2.2.Stages
Introduction
In the default panel configuration, the top bank can be delegated to Stages 1 and 2.

Please refer to "Panel Assignment" on page 214 for more information on how Stages are created and
assigned to the panel.

Stage Delegation
Up to three stages can be delegated to the top bank. To delegate a Stage to the Top Transition module,
use the delegation buttons.

In the default configuration, the left button is delegated to Stage 1 and the middle button to Stage 2.

In the present default, there are only 2 stages!

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The color of the Cut buttons and the fader’s light follow the Background Program color of the selected
Stage.

As it is possible to create more stages, please refer to "Panel Assignment" on page 214 for how to create
them and delegate them to the buttons.

Background Program and Background Preset Bus

The bottom two rows of the Stage area represent the Background Program and the Background Preset
Bus.

During this operation, a video signal selected on the Background Program Bus will be the current video
stream that will change to the video signal selected on the Background Preset Bus through a transition.

The operation of the Stage background PGM/PST-Bus is the same as that of the MainScene PGM/PST-
Bus.

Besides only cutting between video signals directly on the Program Bus, you can also perform a
transition between a video signal from the Program Bus to a video signal on the Preset Bus.

In this case, the video signal selected on the Program Bus will be the current video stream that will
change to the video signal selected on the Preset Bus by performing a background transition.

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For executing the transition, the following possibilities are available:

• The background transition can be achieved by using the direct Cut or Auto buttons of a transition,
including exclusively the background (often the farthest left in the 2 lines of 6 buttons under the
bottom screen).

Cut will execute the change of the video signals by a simple change of the video signal between the
Program and the Preset Bus with a duration time of 0 frames.

Auto will execute a defined transition, e.g. a mix, wipe or 2D/3D-transition, within in a defined
duration.

• The background transition can also be selected on the touchscreen. By touching the black area, it
turns red and then becomes the ‘Next Transition’.

It is then possible to perform this ‘Next Transition’ by pressing the Cut or Auto buttons under the
fader, or by manipulating the fader (which has a similar function as an Auto but with a manual time
control).

The Stage background PGM/PST Bus also works as a flip/flop, so that the background always switches
from the PGM Bus to the PST Bus. When the transition is finished, the selected cross-points will be
interchanged.

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If there are more video signals than buttons delegated to the Stage background PGM/PST Bus, the
additional video signals will be automatically allocated to one or more additional levels and a shift button
is automatically created at the end of the row. By pressing this button, you can navigate step by step
forward through the levels.

Scene Recall and Scene Store

Within a defined stage, it is possible to create as many scenes as desired. Scenes are displayed in, and
can be recalled from the Scene area of the stage. If there are more scenes than buttons delegated to the
Scene area, additional scenes will be automatically allocated to one or more additional levels and a shift
button is automatically created at the end of the row. By pressing this button, you can navigate page by
page forward through the levels.

The selected scene button will light up brighter than the others.

When selecting a particular scene, the corresponding background sources, layers and timelines will
become accessible at their defined areas and the buttons will light up in the defined color. The OLEDS
will show the names of the layers and timelines. Unused layer and timeline buttons will remain dark.

The Top Transition Module follows the selected scene and shows all accessible transitions.

The field above the transitions area shows the name of the selected scene and stage number.

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Within the selected stage and scene, it is possible to:

Store
Stores the selected scene. Once a scene is stored, it will recall the stored status each time the scene is
recalled. When a scene is not stored, it will take the last status when switching between scenes.

Confirm to store with yes or cancel with no.

Rename
Renames a scene. By pressing Rename, a keyboard appears allowing you to enter a new name.

Confirm the new name with OK.

To exit the keyboard, tap cancel.

Delete
Deletes a scene. When a scene is deleted, all following scenes in the row will move to the left within the
panel area to fill the gap that occurred.

Confirm the delete with yes or cancel with no.

Duplicate
Makes a copy of the selected scene. The copy of the scene is placed to the right of the original scene
and named with the auxiliary copy.

Confirm the delete with yes or cancel with no.

A long-press on a scene will open an overlay menu on the Top Transition module where all layers and the
background is shown as an overview of the scene.

To exit the menu, press the red cross.

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Layers
Introduction
In the default configuration, there are five Layers per Stage defined within the Scene ‘default’.

Layers created in Scenes behave and are operated in the same way as Layers in the MainScene (See
section "Layers" on page 278).

Like in the MainScene, you can create Layers in the Stage within a defined Layer area. It is also possible
to create as many Layers as desired within a defined Layer area. The color of a button to which a Layer
is assigned will change from dark to the color defined in the GUI.

The selected Layer button will light up brighter than the others.

The source of the Layer is defined in the Layer Source row. The selected input will light up brighter than
the others.

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Creating Layers
To create a new layer, see section "Creating Layers" on page 279.

Deleting Layers
To delete an existing layer, see section "Deleting Layers" on page 282.

Copying Layers
To make a copy of an existing layer, see section "Copying Layers" on page 283.

Changing the Priority of Layers Within the Layers Stack

To move a layer to another position within the Layers area, see section "Changing the Priority of Layers
Within the Layers Stack" on page 283.

Changing the Parameters of Layers

To change the parameters of a layer, see section "Changing the Parameters of Layers" on page 284.

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Top Transition Module
All overlay menus will be displayed within the Top Transition Module.

It consists of different parts:

• In the bottom part of the display, you see a row of six transitions. These transitions correspond with
the six Cut/Auto button pairs below the display. To execute a transition, you can either press the
Cut or Auto button below the display or you select a transition by touching it and use the lever arm
or the Cut/Auto button beneath the lever arm.

Like in the Bottom Transition module, up to 18 different transitions can be operated within the Top
Transition module.

The control of the transitions is similar to those in the Bottom Transition module.

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• An operation area which shows the actual selected scene and stage including access to them like to
store, rename, delete and duplicate scenes.

Tap the relevant field to Store, Rename, Delete or Duplicate a selected Scene.

Confirm all actions with yes or quit with no.

When a Scene is deleted, all Scenes right of the deleted Scene will move to the left to close the
occurred gap.

A copy of a scene will be placed right of the original Scene.

• A Menu Lock button.

In the case it is defined in the GUI (see section "Panel Assignment" on page 214) that the panel is
delegated by the GUI, this display will pop up a parameter control window triggered by the GUI to
allow control. Setting the button to red by touching it, this action will no more be executed.

• A Touch Lock button

Touching the button to turn it red will lock the touch functionality for the display of the Bottom
Transition Module.

Only the functions Main Menu, Touch Lock and Menu Lock will be accessible.

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• Main Menu button

Touching the button Main Menu will give access to the following functions:

Touching the button Scenes will display the scenes for all available processing modules. At startup,
the scene tree structure is collapsed.

Touching the red bar will open the tree structure:

If you now select a Stage by touching it, all the Layers and Background with their selected input will
be shown.

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By selecting a Layer or the Background it is possible to set a source or to add an effect.

To set a source, tap Set Source.

Confirm selection with Apply. To exit the menu, touch the red cross.

To add an effect, touch Add Effect.

All 2D-Effects are now selectable. To choose an effect, tap the appropriate button. In the following
overlay menu, it is possible to change the parameters of the effect as described in section "Layer" on
page 326.

To exit the menu, touch the red cross.

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 If there are effects attached to a Layer, they will be shown in a dropdown menu.

3.2.3.Timelines
Timelines always belong to the scene in a stage they are created in. They are displayed by selecting the
associated scene in the stage.

Within a defined timeline area, it is possible to create as many timelines as desired. If there are more
timelines than buttons delegated to the timeline area, the additional timelines will be automatically
allocated to one or more additional levels and a Shift button is automatically created at the end of the
row. By pressing this button, you can navigate page by page forward through the levels. The selected
Timeline button will light up brighter than the others.

Short-pressing on a Timeline button runs the timeline.

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Long-pressing on a Timeline button will open an overlay menu in the Top Transition module, where the
timeline can be operated with more functions.

It is possible to run the timeline forwards or backwards, step forwards and step backwards within the
timeline, pause or stop the timeline or jump to the beginning or to the end of the timeline.

The cursorTime digipot allows you to scroll manually through the timeline.

The digipot controls the timeline mode as Normal, Loop, Bounce and NormalReverse.

Timelines are created in the GUI. Please refer to "Timelines" on page 114 for details on how to create and
modify timelines.

3.2.4.Aux Crossbar
The Aux crossbar is used to control SDI-outputs.

There are eight Aux delegation buttons defined in the default configuration.

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How to Delegate an SDI Output
1. Press the appropriate AUX-delegation button.

2. Select the desired source.

3.2.5. MultiViewer Crossbar

The functions of the MultiViewer Crossbar are similar to those of the Aux Crossbar.

A MultiViewer Crossbar is not defined in the default configuration. Please refer to "Panel Assignment" on
page 214 to configure a MultiViewer Crossbar.

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3.2.6. Device Control

By default, there is a DeviceControl area defined on the panel, to enable control of a tape motion
command device such as VTR, server channel or RAM Recorder channel, etc.

The following control functions are available: play, reverse, pause, stop, step+, step-, begin and end.

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To delegate the desired device, you have to preselect the device with the help of the Device
Delegation buttons.

It is possible to delegate as many devices as desired to the Device Delegation area.

If there are more Devices than buttons delegated to the Device Delegation area, the additional devices
will be automatically allocated to one or more additional levels and a shift button is automatically created
at the end of the row. By pressing this button, you can navigate page by page forward through the
levels.

As a second option, you can control e.g. a RAM recorder channel via the Top Transition module.
Therefore, long press the desired device control delegation button and an overlay menu will open in the
Top Transition module.

It shows a thumbnail of the selected clip of the device and makes the following control functions
available: play, reverse, pause, stop, step+, step-, begin, end and record.

In addition, it is possible to set functions like record length, repeat mode, delay and delaylineMode.

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Long-pressing on the Device source at the PGM/PST bus will open the following overlay menu on the
Top Transition module.

Tap the green button to set the Fill source of a Ram Recorder. In default mode, only the Fill source of a
Ram Recorder is defined.

If a different Key source is coupled, a green box will appear, as well as if an effect is attached to the
Ram Recorder.

For more information, refer to section "Control Menu" on page 159.

The option enableXBar allows you to deactivate the source on the PGM/PST bus. The source will still be
located on a button, but it is not possible to cut or fade to the source.

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3.2.7. Macros
Introduction
Contrary to Scene Timelines, Global Macros and all functions of macros are shown all the time,
independently of a selected scene.

The macro area is split into two sections.

Macro Play Buttons

Pressing a macro play button executes the commands stored in a macro.

Within a defined macro play area, it is possible to create as many macros as desired. If there are more
macros than buttons delegated to the macro area, the additional macros will be automatically allocated
to one or more additional levels and a shift button is automatically created at the end of the row. By
pressing this button, you can navigate page-by-page through the levels.

The selected macro button will light up brighter than the others.

If a macro is programmed with a user wait, the button will blink while waiting for the next command.

The last used macro will light up brighter than the others.

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Macro Operation Buttons

Four buttons are dedicated to handling macros.

Two functions are assigned by default in the Macro Operation area (Record Macro and Delete Macro).

To attach more options, refer to section "Macro Attachment" on page 223.

Record
Short-press the record button. By releasing it, a new macro button will be created at the next dark
button in the row. Both buttons will start blinking in red and a macro-[number] will be created as a name.

All buttons pressed during the record phase will be now recorded within the macro.

To stop the recording press record again.

All actions executed during the recording will be recalled in the same order, but with no time delay
between them when playing the macro.

Pressing record and an existing macro, the former macro will be replaced by the new recorded one. At
the moment of pressing the button record, the oleds will change their label from the already existing
macro names to the label replace? to warn before overwriting.

More possibilities such as timed Macros, Pause, editing, Conditional Macros, are available from the GUI.
Please refer to the corresponding GUI section of this manual for more details.

Delete Macro
Hold the Delete Macro button and then press the button of the macro that should be deleted.

All the macros after it will shift to the left, to close the gap that occurred in the row.

Buttons of deleted macros will turn dark again.

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Attach Enable (not in default)
When macros are attached to buttons of the panel, these macros will be executed each time you press
the associated button. When you temporarily want to block the macro recall you can disable the
attachment.

Pre-Attach (not in default)

It is possible to attach a macro to any button of the switcher.

A pre attached macro will keep the original function of the button and plays the macro before executing
the function of the button.

The desired macro must be selected to be attached. Attach the macro by holding the Pre-Attach button
and pressing the target location. The button will blink three times in white.

The last played macro is always the one that is attached.

Post-Attach (not in default)

Unlike a pre-attach, a post-attach will play the macro after executing the function of the button to which
the macro is attached.

To post-attach a macro, hold the Post Attachbutton and then press the desired button of the function
to be followed by the macro.

The button will blink three times in white.

The last played macro is always the one that is attached.

Replace Attach (not in default)

With a Replace Attach command, the macro will completely replace the original function of the button it
is assigned to.

To replace a function of a button by a macro, hold the Replace Attach button and then press the
desired button where the macro should be assigned.

The button will blink three times in white.

The last played macro is always the one that is attached.

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Delete Attach (not in default)

To delete an already attached macro, hold Delete Attach and press the attachment you want to delete.

A Delete Attach command does not distinguish between the types of attachment. All attachments will be
deleted.

Show Attach (not in default)

At the moment of pressing the Show Attach button, all buttons with attached macros will blink three
times white, to indicate that there is a macro attached.

Multiple attachments to the same button are possible.

Scene Macros (not in default)

Besides building global macros, which are accessible at any time on the panel, it is also possible to
record Scene Macros.

These macros only appear when the scene they belong to is selected.

For more information about Scene Macros, please refer to section "Macros Menu" on page 128.

3.3. Overlay Menus

3.3.1. Introduction
Overlay menus always show up within the Top Transition module. It is possible to access the overlay
menu either by long-pressing a panel button or by double-clicking it.
The overlay menu can also be triggered by a GUI, if Auto Delegation has been set up.

3.3.2.Hold Menus
Introduction
Long-pressing on an input button opens an overlay menu in the Top Transition module and a thumbnail
of the source is displayed.

Depending on the type of input, various parameters can be controlled.

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Color Background
Long-pressing a Color Background button will open an overlay menu in the Top Transition module.

To define a wash of two colors, touch the relevant field to change softness, angle and position by
turning or pressing the digipots.

To change either the A- or B-color, touch the relevant field on the overlay menu. Turn the digipots to
change the colors red, green, blue and alpha.

Press any digipot to open a numeric pad and type the desired RGB or Alpha value directly.

Still
Long-pressing a Still button will open an overlay menu in the Top Transition module. If defined in the
GUI, a thumbnail of the still is shown.

There are no options to control a still within the overlay menu.

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Clip
Two possible overlay menus can be displayed for a clip, which are opened as follows:

Long-pressing on a clip (RAM Recorder) button on a PGM or PST row

This will open an overlay menu in the Top Transition module. If defined in the GUI, a thumbnail of the still
is shown.

A short overview is given of the clip’s fill source, key source and possible existing effects.

Touch the green Fill source, Key source or Effects to open a new overlay menu with the respective
options.

If an effect is defined, a green button leads you to the appropriate menu to change the parameters.

To see how to attach an effect to a RAM Recorder, please refer to the section "RAM Recorders Menu" on
page 158.

The enableXBar option allows you to disable the access of the source on PGM/PST.

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Long-pressing on a RAM Recorder in the Device Control area
This will open an overlay menu in the Top Transition module. If defined in the GUI, a thumbnail of the clip
is shown.

It is possible to control the device by touching the desired function.

Possible functions are: play, reverse, pause, stop, step+, step-, begin, end and record.

In addition, parameters like record length, repeat mode, delay and delaylineMode can be controlled with
the digipots, either by turning or pressing them to access the numeric pad.

Scene
Long-pressing a scene selection button
This will open an overlay menu in the Top Transition module. An overview of the elements of the
selected scene is shown.

Clicking on an element of a scene (e.g. a layer, the background or a scene within the scene) enables you
to control the parameters of the selected element.

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Within layers, the opacity, mixType, z_priority and dissolveTime can be controlled. Within
backgrounds a transition time can be set which will be executed when switching directly on the program
background between the sources. On setting this, a mix will be executed as a transition.

The blue arrows will bring you back to the previous or next selected page.

Stage
Long-pressing a stage select button in the Program or Preset Bus of the MainScene
This will open an overlay menu in the Top Transition module. All scenes of that stage are shown. It is
possible to recall a scene directly by selecting the scene on the touchpad.

In the default production, only the Default scene will appear, as it is the only Scene in the production
setup.

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Transition
Long-pressing a transition area on the touchpad of the Bottom or Top Transition
module
This opens an overlay menu in the Top Transition module, which displays and enables you to control the
parameters of a transition.

Tap the Curve field, to set the parameters of the curve.

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If the transition is a 2D Effect, e.g. a wipe, the corresponding menus will appear to change the
parameters of the transition.

You can change every parameter that appears either by turning or pressing the digipots.

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Timeline
Long-pressing an existing Timeline button
This will open an overlay menu in the Top Transition module. With this menu, you can control the
selected timeline.

It is possible to run the timeline, stop or pause it, go to the start or end of the timeline or step (in
frames) through the timeline.

It is possible to change the mode of the timeline by turning the digipot between Normal, Loop, Bounce
and NormalReverse.

Turning the cursorTime knob allows you to scroll through the timeline forwards and backwards or jump
to a point within the timeline, by pressing the digipot and using the numeric pad to set a point within the
timeline.

The blue arrows will take you to the previous or next page.

Layer
Long-pressing an existing Layer button
This will open an overlay menu in the Top Transition module. With this menu, you can control the main
parameters of the selected layer.

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It is possible to access the parameters opacity, mixType, z_priority and dissolveTime.

If the layer contains multiple layer effects like 2D-Transforms and/or keyers, green buttons will appear
which delegate to the corresponding menu where these parameters can be controlled:

For example, for a 2D transform, the parameters position x, y, zRotation, scale and zSpin, zSpinEnable
and stretch can be controlled.

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For controlling a crop, the parameters top, left, bottom and right can be used.

CTR mode is an abbreviation of “Center mode”, which configures whether a cropped image will be re-
centered or not.

For the luminance key, the clip, gain, cleanup, density, autoKeyState and invert parameters can be
controlled.

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If the layer contains a Chroma Key, it is possible to adjust the Chroma Key by controlling the parameters
hue, selectionLeft and selectionRight to define the color area of the key.

The clip, gain, cleanup, density and luminance, saturationChroma, saturationAchroma, invert,
keyColorSubtraction, colorCancel and spill sections allow you to adjust the keying of the signal.

The adjustment can either be done by turning the digipots or by pressing them to access the numeric
pad (depending on the function of the knobs).

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The blue arrows will take you to the previous or next page.

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3.3.3.Double-Press Menus
It is possible to perform various actions by double-pressing on certain buttons on the control panel.

Care should be taken to double-press sufficiently quickly, as a single press on the button may
automatically execute another command.

Layer
Double-pressing on an empty button within the layer area creates a new layer. A transition on the
transition pad (bottom or top) will be created at the same time. The default transition time is set to 15
frames.

Double-pressing on an existing layer will create an overlay menu in the Top Transition module. It is now
possible to delete, copy or move (change the button position within the layer area) a layer.

A copied layer will automatically be placed to the right of the original layer.

If a layer is deleted, the remaining layers will move to the left to close the gap.

For further information, please refer to section "Layers" on page 304.

Macro
Double-pressing on an existing macro will create an overlay menu in the Top Transition module. It is
possible to delete, copy or move (i.e. change its position within the macro area) a macro.

A copied macro will automatically be placed to the right of the original macro.

If a macro is deleted, the remaining macros will move to the left to close the gap.

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4. Multi-Function Module (MFM)
An optional multi-function module can be added to the main panel.

The multi-function module is connected to the main panel with two internal, flat ribbon cables. Please
contact your EVS sales representative for ordering information.

It is very important to calibrate the Fader and Joystick for optimal use.

Calibration is performed from the main panel GUI:

• Main Menu > Delegate > System > Edit > Fader Calibration

• Main Menu > Delegate > System > Edit > Joystick Calibration

Simply follow the instructions displayed on the main panel menu.

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4.1. MFM Layout

The MFM contains the following areas and elements highlighted on the diagram below:

4.2. MFM Delegation

The MFM automatically follows the main panel GUI delegation.

As an alternative, it can be manually delegated by choosing Stage > Layer to be controlled.

The first row of buttons (blue) displays all the available Stages and MainScene and enables you to select
to which one the MFM is delegated. If required, a shift button enables access to the upper Stages.

The second row of buttons (green) displays all the available layers (including background) in the
selected Stage and allows you to select to which one the MFM is delegated. If required, a shift button
enables access to the upper Layers.

The bottom button of the vertical column of buttons between the Fader and Joystick is used to enable
the auto-delegation function.

4.3. Effects Validation (On/Off)

The third and fourth rows of buttons control the selection and validation of Effects, Keyers and Filters
(simply referred to as “Effects” below) that can be assigned to the delegated layer.

The third row of buttons (white/yellow) displays the eight pre-assigned Effects (Crop / Transform2D /
Corner Pinning / Color Correction / Wipe / Chroma Keyer / Luminance Keyer and Defocus) in the
selected Layer.

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The fourth row of buttons (white/yellow) displays the custom assigned Effects in the selected Layer.
These Effects are assigned using the GUI or main panel. Please refer to the corresponding section to
find out how to add them. The first eight additional Effects / Filters are accessible via the MFM.

A white button indicates that the filter is not enabled. Pressing a white button turns the Effect on and the
button becomes yellow.

Long-pressing a yellow button turns the effect off. In the pre-assigned effects row, the button then
turns white. In the custom-assigned effects row, the effect disappears.

4.4. Effects Parameters Control

Once an Effect is validated, its parameters can be controlled via the Digipots, the Fader and the
Joystick.

4.4.1. Digipots
Nine digipots (orange) display and allow you to control the most common parameters of the selected
Effect.

The values of the parameters are displayed in the LCD located on the left of each Digipot.

Pressing a digipot resets its value to default.

4.4.2. Fader
The eight buttons of the Fader Delegation area (first 4 buttons of the fifth and sixth rows) enable you to
select the parameter controlled by the Fader.

The parameter value is displayed in the LCD located above the Fader.

4.4.3. Joystick
The eight buttons of the joystick Delegation area (last 4 buttons of the fifth and sixth rows) enable you to
select the parameter controlled by the Joystick.

The Joystick enables you to control 3 values at the same time:

• X value (by pushing the Joystick right or left)

• Y value (by pushing the Joystick up or down)

• Z value (by rotating or twisting the Joystick clockwise or counterclockwise).

The parameter values are displayed in the LCD located above the Joystick.

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4.4.4. Fader and Joystick Enable

The top two buttons of the vertical column between the Fader and Joystick enable/disable the Fader
and Joystick.

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