DVE - Digital Video Effects

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DVE: Abekas A51+ Demo (NAB)
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History of the DVE (Digital Video Effects) - All uncompressed - All real-time (no rendering) - and before computerized non-linear editing and effects
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DVEs were a major change in video effects and television - prior to 1977, these could not be done live, in real time and with moving video.
Microsoft tried to patent the 'page turn' effect - to take another swing against the iPad.
The New York Times selected Keoni Tyler's editorial response as the main reply out of 70+ letters as its key "pick:"
Keoni Tyler responds:
You mention that Microsoft is speaking of the touch-screen as the device to which they are claiming the 'look and feel' of the software page turn.
As a teenager who was very observant of the magic of t.v. and film from the ripe of age 5, I remember being wow'd by a Grammy Awards broadcast on CBS where John Denver named the nominees for a category. Suddenly, album cover art would flip, turn, be mirror'd in reflection, squeezed and zoom'd. I called CBS the next day and a thoughtful engineer told me it was a digital machine called "SqueeZoom," which later won a technical Emmy(R) Award. This machine did 2D effects and it cost about $250,000 in 1978 dollars.
The engineer was startled that a teenager from Hawai'i would notice and call him, but that's how dazzling the effects were to me. I think my parent's new home cost $70,000 at the time. My Dad told me to go to my room when I asked him for a loan to buy a SqueeZoom.
A couple of years later, American technology would marvel the world again when Ampex, inventors of the first broadcast-quality and practical video tape recording format in 1956, would unveil the ADO - Ampex Digital Optics. It brought live 3D effects in 2D space. Suddenly, you'd watch the news, "Entertainment Tonight" and other programs with flipping, rotation and perspective warp effects - thus, from the late 70s and early 1980s, the digital page-turn effect was born, simulated with moving video on one flap, and a reversed image curled on the back if you could afford that option.
Film optic effects pre-date that - think of the bad guys being flipped in a trapped sphere in Superman: The Movie or George Lucas' skewed titles rolling into a galaxy far away at a trapezoid-angle, punctuating the feel of the story with a look.
I would also see these special digital effects implemented on music video show reels -- like from Warner Bros. Records in 1978 -- which pre-dated MTV's birth in 1981.
It was in the early 1980s when Mr. Gates would start Microsoft from a garage. The Mac came in the mid 1980s. These had simple monochrome screens, but due to memory, speed limitations, cost and software limits -- those personal computers and software couldn't do the real-time page turns of the $250,000 machines broadcasters used to flip images, or even squeeze a "simple" box graphic over Tom Brokaw's shoulder.
Today, you see these "classic" effects -- complete with reflections -- on album covers that line-up, then angle, then flip with your finger on your Apple iPod. Ahhh, the Grammys and Emmys would be proud. And you don't have to mortgage your house to buy one.
The broadcasters' expensive machines are still used in live t.v. today - especially when you watch any sporting or news event. These "DVE" (Digital Video Effects) made by brilliant engineers ahead of their time in the 1970s pre-date Microsoft's claim of "look and feel" in 2009.
Keoni Tyler
Film & Television Director-Writer-Editor
Hollywood, California
Note: The most sophisticated real-time DVEs were made in the 1980's - the Quantel Mirage and the Sony System G DME-9000. They allowed texture on their manipulated real-time video. An example of the Mirage's debut was the round globe effect on the USA for Africa music video for "We Are The World" and in Cyndi Lauper's "Girl's Just Wanna Have Fun." During the 1984 Olympics from Los Angeles, ABC broadcaster Jim McKay - seeing "Mirage" on the credits of the closing night, joked 'I thought everything we saw during these Olympics were real.' The Mirage and System G units could run $500,000 - $750,000 with options, and so few were made. Sony moved System G engineers to develop effects for the gaming console Play Station.
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7 сен 2012

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Комментарии : 13

@basbeima 11 лет назад

The geniusses of that era knew how to squeeze every bit out of there programming in ways that are still unprecedented now in 2013... Wish I had an Abekas 51 or something similar running real time full Hd ....

@GrandeGio95 2 года назад

This is impressive

@tristanwegner Год назад

The existence of such machines explains much of the TV look of the 1990s

@bitmap303 4 года назад

Just got my A51+ working - let's warp :)

@LoyalmoonieProductions 5 лет назад

2:46 *This is JEOPARDY!* (explode) Just kidding, but I am desperately looking for THAT visual transition, because I need it for a project.

@KeoniFilmTV 12 лет назад

Ahhh, you are one of those "brilliant engineers" I talked about in my New York Times response. :D My hat off to you, my friend.

@apollozero 2 года назад

I remember when we got DVE we could finally have large font that didn’t have to be stretched. Lol

@Necrocom4 10 лет назад

thanks for the reply. Im not actually looking for anything that can do live tv just something for making montages and trailers, intros, that kind of thing. Particularly the 3d perspective and multiple clips backgrounds, rotation abd cropping of clips, custom borders, and possibly 3d mapping of the video clips to stuff like spheres or a cube. I found adobe after effects but it has a steep learning curve and its quite expensive. I can't believe they had something like this in the 70s and its still not something that can be done in real time on software today.

@KeoniFilmTV 10 лет назад

Mike, yes when the DVE made its debut in the late 70s early 80s (read my NY Times published pick on the "page turn" pasted on this page), it amazed everyone, just as the $250,000+ Quantel Paintbox/Henry/Harriet/HAL was Photoshop and After Effects two decades before. But let's think about your last sentence. The "real time" hold-up is NOT a software issue, it is hardware. With the RU-vid and Smart Phone generation, people really take for granted that moving video is very complicated on any consumer/home computer, and that it is a monumental feat. Look at an iPod. When you select album cover view, and you thumb past covers and touch one and they flip over - those are DVE effects (rotation, skew, perspective, re-size XYZ source and target, aspect ratio, cropping). It's in real time, but how is it doing it? It's because the album covers are STILL PICTURES, not moving video going at 60 fields per second. It has 1 frame. It is also dealing with highly compressed images. DVEs like the first SqueeZoom, the Ampex ADO, and today's expensive real-time units are still real-time software, but it's the expensive hardware that makes it happen. Any news or sports program has to constantly squeeze, rotate, slide and move pictures around, and before SqueeZoom's introduction in 1977, it was all impossible in video/tv/real time. For what you've described in your reply to me, BORIS FX's BORIS CONTINUUM COMPLETE (BCC) will do what you need, and is much easier than a compositing/motion graphics design program like AfterEffects, NUKE, SHAKE, Combustion. A footnote: What came after X/Y/Z axis manipulation of the video image? Sony briefly had an amazing 1990's machine called the Digital Mutli Effects System G (DME-9000). At around $500k+, they sold less than a dozen, but it did something like the earlier Quantel MIRAGE, but made it much easier to program effects. It texture mapped video in real time. So you had a flat picture of Coke can and it would re-assemble it, rotate, go inside, all in real-time. But it also would extrude bumps, dimples, etc; using a trackball. It is hard to find System G demos, but look-up "We Are The World" - USA for Africa; that round globe that flattens out was an early MIRAGE effect that took the Ampex ADO one step further. When you have time, look up videos for Quantel Paintbox, and Quantel EditBox. They were fully uncompressed video. Also see my STUDIO SEE - PBS 2-inch video to watch an actual edit session before non-linear editors like Avid, Final Cut Pro and Premiere Pro were invented. Again, the software to edit existed, but it was all hardware limitations.

@KeoniFilmTV 10 лет назад

Mike, I found this which shows you how we do this LIVE (no rendering/waiting) and in full uncompressed 100% quality (no ProRes or other quality compromises). The panel you see is just the 'remote control' - it goes to the brains and guts of a rack mount unit about 2-3 feet high. Again, these cost $100k-$350,000 depending on options. But it gives you an idea why home computers, business workstations and things you are used to can't do these effects with the quick-access and full quality with no waiting - all necessary for news, sports, live-to-tape - every multi-camera show you see on t.v. :) Sony MVS-8000G - DME WIPES

@Necrocom4 10 лет назад

Im actually looking for good video editing software that can do all this stuff today. Someone point me in right direction.

@KeoniFilmTV 10 лет назад

Hello Mike. I posted this video and thank you for watching. DVEs still exist today - especially in any live t.v. studio/broadcast operation/linear edit suite, and they remain expensive because they do everything in real time, fully uncompressed. I assume you are asking to do this on a computer/non-linear editor, like Avid, Final Cut Pro, Premiere Pro, Sony Vegas, etc. All of those have DVE "filters" built-in. And third-party companies like BORIS FX, make Boris Continuum Complete that have DVE filters in their "PERSPECTIVE" bin that simulate all of these effects. The thing is - of course - that you have to render each channel of effect frame-by-frame or field-by-field, so unlike the original DVEs used in t.v., they will not be real-time. Editing software you already have may have basic DVE effects - like RE-SIZE, SPIN, TUMBLE, SKEW, ROTATION.