Posted by Jim Hurwitz
Since 2004, we at Telecast have been busy enabling the 3D explosion. You saw one notable product in the blockbuster hit Avatar, the production of which relied on the Fusion 3D cameras from PACE, as well as the Telecast CopperHead JT systems that were part of the camera chains.
During the past few years, we've also pioneered in the technology enabling LIVE 3D -- that is, multi-camera live (or "live-to-tape") sports and entertainment events. In this embryonic industry, we've been instrumental in developing fiber optic technology to support the talented technical teams who have produced the following 3D events:
To Date:
- U2 3D (Latin America, 2006). Noted to be "the first ever 3-D multiple-camera setup, and was shot using every digital 3-D camera and recording deck in existence at the time."
- Hannah Montana & Miley Cyrus: Best of Both Worlds (Salt Lake, 2007)
- NBA All Star game (feb 2008)
- BCS National Championship (Jan 2009)
- NBA All Star pre-game (feb 2009)
- Black Eyed Peas (March 2010)
- Rangers and Islanders (NHL) at Madison Square Garden (March 2010)
Upcoming:
- 2010 Masters golf tournament (April 2010)
- 2010 India Premier League Cricket Finals (April 2010)
- 2010 World Cup (June 2010)
The World Cup coverage will mark the launch of "ESPN 3D," which expects to showcase at least 85 live sporting events during the first year. Among other events planned for 3D broadcast: the Summer X Games, NBA games, college basketball and college football. Initially, it will all be live (no reruns), so the network will be dark when there's no 3D event.
Since each 3D camera is essentially a custom rig with two full 
cameras on it (one for each "eye" of the stereographic signal), we are often asked about how 3D production is handled in prewired venues. Can you use triax infrastructure? Is there fiber installed? If so, is there enough fiber installed to send discrete L&R signals back to the truck? Do they have to compress the signal(s)?
The answer is that with 3D, triax can no longer be used, due to the extreme bandwidth of the signals from (and back to) the 3D camera rigs. But with fiber optics, bandwidth is not a problem. We can multiplex lots of HD onto just a few strands of fiber. If the venue isn't prewired with single mode fiber infrastructure or hybrid fiber, they'll typically pull fiber cable for the event to each 3D camera drop. Either way, the cameras on every major live 3D sports and/or entertainment shoot so far (that we know of) has used fiber optic gear to get the signals from the camera rigs back to the truck.
We have made a variety of custom products for these 3D production companies (PACE, 3ality and others) to make the 3D production possible. In addition to their 3D-specific products, the talented engineers at these top, elite 3D houses also make their own fiber optic solutions, using Telecast's off-the-shelf fiber optic products as "building blocks."
For a sneak peak of our latest solution (for an entire 3D rig with two Dual-Link HDC1500 cameras, along with all of the ancillary bi-directional data streams, and return HD/SDI on a single piece of tactical or SMPTE hybrid cable), come to our booth and ask for me. If I'm not there, ask for Eugene Baker (our CTO) and say the secret word (the astrological sign of the Twins). We'll fetch it for you.
Posted by Rich Cerny
We're proud to be the winner of BE Magazine's Pick Hit Award
at IBC this year, and the product that got it is our new modular Rattler™ 3G. This is an amazingly innovative product, even for Telecast.
The Rattler 3G HD/SDI fiber optic video link is the first product that allows you to configure exactly the device you need, whether it's a coax to fiber transmitter, a fiber to coax receiver, a fiber to fiber mode converter or CWDM wavelength shifter, or even a BNC to BNC coaxial inline equalizing repeater. 
Using the groundbreaking Telecube™ technology, you can even change the Rattler 3G into something different by simply replacing cubes whenever you need to.
Like the original Rattler, you also get that indispensible optical power meter on the side of the center "Pit" coupler. But unlike the original, you now have up to 16 CWDM wavelenths to choose from, as well as higher power levels.
According to the BE website "The prestigious Pick Hits Awards, which have honored companies and
their technology for more than 25 years, are selected by a panel of
independent judges who tour the convention floor looking for innovative
products and technology. The judges then meet to make their selections
based on several criteria, including the technical and financial
improvements the product can bring to a facility’s operation. Broadcast Engineering’s
editors and publishers have no vote in the selection process, ensuring
the winners truly represent outstanding achievement in the eyes of a
group of people who are representative of those making TV happen."