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Case study:
DOTA2 The International 11

Production Companies: Lioncat Films (SG), Valve (US) 

What We Did

A live event that required documenting every step of the way. We kept that machine moving.

❋ Big Event, Big Data.

For the 11th edition of The International in 2022, Valve engaged Lioncat Films to produce cinema footage for the event. They also needed a local DIT, to which Lioncat Films approached me to work with Valve and NEP for this tournament.

This was my first time dealing with large scale collaboration with multiple editors at an event that needed to churn out content in near real-time as the weeklong event went by, from the playoffs at Suntec Convention Centre and the finals at the Singapore Indoor Stadium.

With solutions provided by NEP, getting media ready was frictionless with a dedicated 10Gbps link to my workstation, even after moving locations.

❋ Tools Used

Silverstack XT was used for offloading and QC. This was essential especially when copying multiple cards at the same time coming from the cine camera operators into the Dell EMC Isilon servers.

Tentacle Sync Studio was used for synchronising broadcast footage to Cinema footage for quick timecode based linking in DaVinci Resolve as both cine and broadcast were working on different timecodes.

Dark fibre links arranged by NEP from the Singapore Indoor Stadium to servers hosted in Suntec when the finals moved to the Stadium.

With the Valve Post-production team + NEP network infrastructure team before I moved to the Indoor Stadium.

While they were constantly cutting footage and uploading them from Suntec, I was also feeding them footage from the cine team over fibre from the Indoor Stadium.