GRASS VALLEY 3D PRODUCTION Application Note
APPLICATION
NOTE
3D Production Using
Grass Valley Production Switchers
John Willis & Greg Huttie
November 2010
Grass Valley™ production switchers are
already making 3D television programs, and
have been for many years with no external
processing required. Our latest switchers
continue to deliver the ease of operation and
high production values our users expect, using
our standard software and hardware.
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3D ProDuction using grass Valley ProDuction switchers
Left HD Camera Feed
Paired
Camera
Sources
Paired
Replay System
Sources
Right HD Camera Feed
L
R
Paired Program
Output To
Transmission System
PVW PGM
L
R
Paired
3D Clip
Sources
3D Camera Rig with Two LDK 8300
Super SlowMo Cameras
L R L
3D Encoder
3D HD over HDMI
L R
3D Encoder
3D HD over HDMI
L R
3D Preview Monitor 3D Program Monitor
3D PRODUCTION
You’re 3D Ready… TODAY!
Kayenne Video Production Center
K2 Summit Production Clients
used as Sources
Kayenne ClipStore
utilizing K2 Summit
K2 Dyno Replay System
(Super SloMo 3D)
L
R
L
R
L
R
Trinix NXT
3G Router
L
R
L R
3D ProDuction using grass Valley ProDuction switchers
Introduction
Live 3D television production is one of the most exciting developments in recent times and is poised to stretch both production
and technical teams worldwide as they pursue the ultimate experience for their viewers.
Grass Valley and its solutions sit at the heart of the 3D television production experience with LDK cameras being used in 3D rigs,
K2 Summit™ and K2 Solo™ media servers with ChannelFlex™ technology built for 3D left-eye/right-eye recording and playout on a
single channel, reliable and scalable routing systems, and both Kayenne™ Video Production Center and Kayak™ HD switchers easily
able to put a 3D show on air.
The core of the Grass Valley switcher concept for 3D operation is in maintaining the traditional 2D workflow understood by producers, directors, and technical directors, without adding complications or special tricks. 3D TV requires a transparent ability to process
the t wo parts of a 3D show: the left-eye and the right-eye camera signals. This must take place under the same control scheme as
a regular 2D show, using the knowledge and techniques which keep the production pacing and desired on-air look without compromising any production values.
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