3D Production Edit Workflow at the London 2012 Olympics

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Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 122, No. 1, pp. 24–28
Abstract: For the first time the Olympics were telecast in 3D. In the past, some 3D coverage was available on a closed circuit basis of limited events. The London Olympics 3D Channel covered multiple sports, both live and Electronic News Gathering (ENG) style of coverage, and provided a complete 3D channel of more than 275 hours of 3D programming. Part of the Olympic 3D Channel everyday was a one-hour Summary program, presenting the best of the live 3D coverage as well as the Electronic Field Production (EFP) style, single-camera coverage captured that day. This is the first time a 3D daily program was attempted, using a hybrid edit workflow. The paper discusses the workflow, including the capture of the ENG footage using the Panasonic P2 3D camera, EVS servers, and AVID Media Composer editing. Additionally, the challenge of quick turnaround and the QC process to ensure the materials were “stereo” correct. The paper covers the specific issues of what worked and what did not.
Publication Date: 2013-01-01
DOI: 10.5594/j18256XY
ISSN: Print: 1545-0279
Link: https://doi.org/10.5594/j18256XY
Author(s): James DeFilippis
bio
James M. DeFilippis has worked in radio and television broadcasting for more than 30 years. He is a consultant to the media and broadcast industry with a focus on Mobile DTV, file-based production workflows and high frame rate imaging. Past accomplishments include progressive camera systems to replace film for television, 30 frame/sec progressive video systems, MPEG 2 splicing, and the first all-digital, disk-based, super slow-motion camera/recording system. — DeFilippis is a graduate of the School of Engineering at Columbia University in New York City, where he attained a Bachelor of Science and Masters of Science in electrical engineering. He recently received the SMPTE David Sarnoff Medal for his work in advancing the art of television engineering. He is a Fellow of the SMPTE.
Copyright: © 2013 Society of Motion Picture and Television Engineers, Inc.

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James DeFilippis; 3D Production Edit Workflow at the London 2012 Olympics, SMPTE Motion Imaging Journal ( Volume: 122, Issue: 1, 2013); SMPTE, 2013. Available at https://doi.org/10.5594/j18256XY

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James DeFilippis; 3D Production Edit Workflow at the London 2012 Olympics, SMPTE Motion Imaging Journal ( Volume: 122, Issue: 1, 2013); SMPTE, 2013. Available at https://doi.org/10.5594/j18256XY

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James DeFilippis; 3D Production Edit Workflow at the London 2012 Olympics, SMPTE Motion Imaging Journal ( Volume: 122, Issue: 1, 2013); SMPTE, 2013. Available at https://doi.org/10.5594/j18256XY

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<span class="citation">James DeFilippis; <cite>3D Production Edit Workflow at the London 2012 Olympics</cite>, SMPTE Motion Imaging Journal ( Volume: 122, Issue: 1, 2013); SMPTE, 2013. Available at <a href="https://doi.org/10.5594/j18256XY" target="_blank" rel="noopener">https://doi.org/10.5594/j18256XY</a></span>

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James DeFilippis; 3D Production Edit Workflow at the London 2012 Olympics, SMPTE Motion Imaging Journal ( Volume: 122, Issue: 1, 2013); SMPTE, 2013
doi: 10.5594/j18256XY
url: https://doi.org/10.5594/j18256XY

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James DeFilippis; <cite id="bib-10-5594-j18256xy">3D Production Edit Workflow at the London 2012 Olympics</cite>, SMPTE Motion Imaging Journal ( Volume: 122, Issue: 1, 2013); SMPTE, 2013
<span class="doi">10.5594/j18256XY</span>
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