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 Jim Hurwitz
Telecast is proud to have figured heavily in this 3D concert hit. Our CopperHead JTs, POVs, and various Viper II gear was used for a variety of applications, including the program video. Gene
Baker was on site to assist the production in Buenos Aires.
http://digitalcontentproducer.com/hdhdv/depth/u2_3d_0122/