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Broadcast Equipment Blog | 3D Broadcast Sales

Equipment reviews, news and tips

  • What Are Broadcast Lenses And What They Can Be Used For

    Firstly, Broadcast Lenses are designed for constant video use of at least 25fps instead of sporadic still picture use from an SLR.  So, the design is much more vigorous since any minor mechanical shifting in the broadcast lens would not be perceived when taking stills but would be possibly unpleasant on a Film or TV clip with constant motion.  The broadcast lenses don’t ‘breath’ (change image size while focussing) or if it’s a zoom lens they won't change focal length if zoomed in or out. The entire interior structure is tremendously well engineered with high quality metal parts intended for a lifetime of professional usage.  The elements are high class, high refraction glass.  The lenses are primarily intended for performance, then price, in that order.

    Broadcast lens 3D Broadcast

    Broadcast lenses are also designed to be focussed manually, and the amount of lens spin per shift in focus is firmly managed.  If an object is moving towards the lens at a measured pace a broadcast lens will attempt to have the focus barrel also move at a constant rate (within reason). Furthermore, a human hand can only turn so far in one rotation during a single shot so a broadcast lens will also have a smaller throw for the focus -- a limitation not required for a stills lens.  A still lens will often have an economically priced autofocus system and a ‘manual’ focus ring which can’t match the speediness and sleekness of a manual follow focus setup specifically for broadcast or cinema use. A broadcast lens with a decent operator can manually focus an unbelievable range at various speeds.  It’s difficult to produce a top-quality focus if you are attempting to focus with an automatic focussing setup via a ring of some sort. Still lenses are intended to quickly focus for still photos only.  In the case of a moving image, you may want to focus at whatever speed is needed.  There is always a messiness which goes with trying to focus moving objects on a non-mechanical setup. The majority of Broadcast lenses are a lot more costly because they are just better constructed and optimized for film or TV work.  Many people use still lenses for budget video purposes though, plus they do work, and are cheaper, though not recommended at all if you have funds more professional gear. You simply have to ask yourself “Is this the right tool for the job if budget allows?”

  • Buying The Professional Camera Case That Is Right For Your Equipment

    When it comes to picking the correct professional camera case or bag for your necessities it can feel like there’s a confusing array of choices available, particularly to those who are making the purchase for the first time.

    If you have been using your current professional camera bag or case for some years, you’ll most likely be astonished at just how far developments in bag technology and fabrics have come over the years. Gone are the days when a minor number of producers offered a limited range in a specific style. Now you really are spoilt for choice, with a nearly infinite list of possibilities to consider.

    But before you rush hastily into a decision, there are a few thoughts which are worth taking a bit of time over first. After all, having shelled out your hard-earned cash on some shiny new professional gear, you’ll want to know that what you put it in is going to do a fantastic job of protecting it.

    Professional Camera Case

    Let’s begin with the four key questions you need to ask when making a decision:

    • Will the bag effortlessly house all of my camera gear, with space for extra items?
    • Is it a sensible, professional, easily accessible case or bag?
    • Is it going to be easy to transport and move around with?
    • Are there any important features which I think are lacking, in particular to its intended use?

    When evaluating models, for example, you might want to think about whether a long-established shoulder bag will do the job, or whether a pouches/waist belt organisation would do the trick. For some photographers, a rucksack or roller case will offer the finest result if carrying kit over lengthier distances or for longer periods of time.

    Once you have selected your bag, very often the personalisation procedure doesn’t simply stop with ordering your kit into the several pockets and sections of the base unit. More accurately, there’s a whole host of accessories accessible to you which will allow you to tailor everything from the type of straps you use to extra pockets which effortlessly fix onto designated attachment positions.

    If you pick a camera shoulder bag, for example, some professional producers offer systems whereby you can eradicate the whole of the interior in one go – dividers and all – and switch it for an alternative setup. This is particularly convenient if you shoot with two setups.

    If you choose to take the hard case route maybe with some padding too route, there are many replacement foam sets available to suit the gear you have. You really need to be sure of what’s going into the box before you start pulling the padding out though. In the grand scheme of things, it’s not always possible to future proof your setup. Technology changes, camera form factors change, and so do the jobs you may end up doing instead of your normal gigs. Who knows.

    Finally, those either heading out of the country or into packed areas might like to contemplate security products such as buckle locks. These are great little tools for discouraging would-be opportunists as well.

  • Buy Lens Mount Adapters: The Complete Guide

    Once a photographer or cameraman comprehends lens adapters and lens mount adapters in general, it’s vital to know why they are required. Here are a few reasons photographers and camera operators use lens and mount adapters.

    Upgrading a Camera

    When upgrading to a fresher or more innovative camera within the same brand, you should be aware that camera makers do occasionally change the mounting systems they use for their lenses, so using older lenses with the fresh camera may necessitate the use of an adapter.

    Buy Lens Mount Adapters

    Swapping to a Camera from a Different company

    If a photographer has been shooting with a Canon for years and then switches to a Nikon, the lenses that were bought for the original camera will not be compatible with the next. This is because every camera brand has slightly changed specs, and obviously, firms make lenses that fit their own gear. Not only may the mounting arrangements be dissimilar, but the actual lens sizes will probably differ as well.

    Using Cheaper Lenses

    A photographer who is trying to be economical may want to capitalise on a top of the range camera but may not then have the extra cash to buy a group of new lenses from the same firm. Such a person might then be drawn in purchasing new or used lenses from other lens producers, which will probably not be compatible with the camera. A lens plus an adapter may, in many cases, cost less than acquiring the matching brand of lens.

    Trying out Macro Photography

    Macro photography is the art of taking extreme close-ups pictures of very small things so that the photo images are many times larger than real size. Instances of subjects are things like insects, plants, and anything else nature has to offer. Distinct macro lenses are fashioned for this purpose, and an adapter may be required if the lens, as mentioned, is made by a different company than the camera itself. However, a cheap trick is to invert the prime lens on the camera by mounting it back to front, which will let you to try some macro photography without having to splash out on an additional lens that may not get a lot of use anyway. While the reverse mounting method will not give the same results as a specialized macro lens, it is suitable for experimentation at least. To do a reverse mount, an adapter will be needed of course.

    Another valuable adapter for reverse-mount macro photography is a one that allows a filter to be screwed onto the inside of the lens (which is now actually the outside instead). This is occasionally called a bayonet-to-standard thread adapter. Since exposing the inside of the lens will make it susceptible to getting dirty, which can really impact the quality the images you create, it’s a good idea to attach a cheaper protective filter, such as a UV one, for the sole reason of protection.

  • Buy Camera Adapters To Make Your Camera Rig More Flexible

    Do you want to make your camera rig even more flexible? Lens adapters can open your world up to a range of possibilities, it doesn’t matter if the glass you’re after is strange, traditional, or just no longer built anymore. These magical camera adapters can make camany lenses fit on cameras they weren’t assembled for.

    Lens adapters allow you to use an assortment of great alternative lenses—including some truly unusual optics and some classics that are so incomparable that you may wonder why they aren’t still manufactured. Although the lenses made for your camera may be great, having choices is nice.

    buy camera adapters

    Not every lens is adaptable to each camera arrangement. Generally, adapters are made for use with older lenses that have physical aperture rings, which must be changed by the user. Many modern lenses, have electronic aperture manipulation that won’t work on other cameras. Adapter producers have worked around this conundrum by incorporating a physical actuator for the lens aperture built into the adapter. You still have to physically set the aperture, only by adjusting the adapter, and not the lens itself.

    Pros and Cons

    Since adapted lenses cancel our many of the camera’s automatic features, they slow you down and consequently may not be appropriate for certain uses, such as sports and wildlife photography. But then again, landscapes, architecture, and other specialities that don’t rely heavily on autofocus are well-suited to altered lenses.

    Given the clear problems involved with adapting alternate lenses, and the readily available high-quality lenses for current camera arrangements, why should you then use alternative lenses with adapters? Some of these reasons include:

    Price: Alternate lenses can be inexpensive compared to their unadapted counterparts, occasionally notably so as well. Many are out of production now, but even so, they are still readily obtainable second hand for a reasonable price.

    Quality: Don’t accept as true that your camera manufacturers lenses are the best money can buy. In fact, there are plenty of other lenses that may be better to unadapted lenses too.

    Gap-filling: Even though the lenses for camera systems are fairly extensive in number, sometimes they have holes in the series. Other lenses frequently fill these gaps, particularly for specific uses at times.

    Brand change: If you’ve changed camera systems, but would hate to drop your collection of ‘exclusive’ lenses from your old gear, you might be able to use an adapter and keep using them. This is true when changing between manufacturers (such as from Nikon to Canon) or from some systems within the same brand on occasion. You might not want to give up some of your favourite classic lenses, and these adapters will make it possible to keep on using them.

  • The Best Features On Sony Latest Generation Of Camcorders

    Sony’s new 4k camcorders really do show off the latest and greatest features any discerning videographer could want from a workhorse camera they need and rely on to capture those moments in glorious 4k and without much notice needed either.

    Go beyond Full HD with 4K

    Meet the camcorders that offers some the best 4K recording. Shoot video that shows over 8 million pixels (3840 x 2160), which is four times the resolution of Full HD—and capture moments in unrivalled, accurate detail that erupts with vivid colour.

    Sony Camcorder

    XAVC S recording format

    Derived from a professional-quality recording format, XAVC S compresses the video (via MPEG-4 AVC/H.264) and the audio (via PCM) of your footage before saving them as an .MP4 file. XAVC S also lets you capture footage at the high bitrate of 50 Mbps, when truly enhances the level of detail normally associated with Full HD footage while still dropping the properties of compression noise.

    Effortless playback over HDMI

    Connect the Camcorders to a 4K monitor or TV using the 4K-ready HDMI cable, and start viewing your movies in breath-taking detail. You can still easily view the footage on a standard Full HD 1080p TV as well by simply changing the output settings to 1920 x 1080, and carrying on.

    XQD media cards

    The two XQD card slots, which are compatible with S- and N-Series XQD cards, give users smooth, high read and write speeds for 4K video. Users also have the option to switch to relay recording, so you can shoot for much longer without having to worry about one of your cards filing up. Video and sound may be cut briefly in the relay recording process, so do bare this in mind when you resume shooting.

    Creative control with ASSIGN buttons

    As an example, the seven on-camera ASSIGN buttons on-board the Sony FDR-AX1are intended for quick, easy navigation between camera setting profiles. Assign specific functions such as Markers, Zebra, Focus Peaking, Focus Magnifier, Auto Exposure Level, SteadyShot, Colour Bars, Rec Lamp [F], Rec Lamp [R], and Thumbnail to an ASSIGN button to find a sleek profile that works best for you when you need a quick shortcut to something specific.

    XLR sound terminals

    Unrivalled video from a 4k camcorder deserves the same results from the sound department too. So in addition to the premium-quality internal microphone, two external XLR terminals are also included to allow connection to exterior high-performance professional microphones if needed.

  • 10 Killer Camera Hacks For Fantastic Pictures

    Get comfy with close-ups

    If you feel like your pictures don’t have any pop to them, take a step or two towards your subject. Fill up the frame with your subject and see how superior your photo will look with less space wasted. Getting closer to your subject also reveals their facial expressions more too, which can tell a story.

    Professional Camera

    Capture something every day

    The greatest way to improve your skills is to practice. So shoot as often as you can, it doesn’t really matter what the subject is either. As your technical skills progress over time, your ability to tell decent stories with them will increase too. Don’t worry so much about creating a shooting style too early on either as it’ll emerge by itself in time and it’ll be much more authentic too.

    Use your available light effectively

    Before you put the camera up to your eye, firstly see where the light is originating, and use it to your advantage. How can you use it to make your photos better? How is the light engaging with the scene and the subject? Is it emphasising an area or casting thought-provoking shadows? These are all things you can exploit to make an ordinary photo astonishing.

    ISO

    There are a few questions to ask yourself when deciding what ISO to go with, such as…

    What time of day are you taking the shot? If you are shooting outside at midday, you’ll need to use a lower ISO such as 100 or 200. If you are shooting at night time without a tripod or other equipment then you’ll need to increase the ISO to quite a higher number to be able to record the light on the camera’s sensor, so be aware of your cameras high ISO capabilities.

    Do you want a sharper picture or an image with more movement? Using a higher shutter speed to capture quick movement might mean that you need to use a higher ISO to compensate. Similarly, if you’re using a slow shutter speed to capture some motion blur then you’ll need a much lower ISO instead.

    Invest in some books before you splash out on extra gear.

    Having pricey camera gear doesn’t always mean that you’ll take great pictures. Some amazing shots can be taken with just a phone these days, so you need to take the time to understand this amazing specialist tool you have in your hands. Then you can wipe the floor with the seemingly amazing pictures taken by phone users who fancy themselves as pros. By studying what the actual pros methods are via some decent books, not only will you get some inspiration, but you’ll come away with even more to expand your own photos.

    Read the manual

    The best way to get to know your camera to actually sit down and read the manual. So many people miss this really vital step on their path. Cameras are diverse, none are alike, so by reading the manual you’ll get to know all the quirks and shortcuts so nothing stands in your way.

  • 5 Things You Need To Know About The New Inogeni Converters

    Inogeni’s video converters are the most easy and dependable tool for the concurrent capture of uncompressed video streams with audio from your HDMI/DVI/VGA or CVBS sources for your PC for either recording, videoconferencing, lecture capture and streaming methods. No driver installation is needed and it’ll work on all motherboards with USB 3.0 chipsets.

    Video Broadcast Equipment

    They’re Effortless to Use

    It’s probably the most practical uncompressed 1080p and 4K video capture and streaming answer. Smooth camera connection for video-conferencing and streaming apps like: Skype®, Lync®, Webex®, Zoom®, USTREAM®, Livestream®, and Livecast® to name but a few. No driver installation required either as it works just like a webcam does. It also extracts audio from the HDMI signal as well, while being powered solely by any USB 3.0 port. Impressive stuff indeed.

    They’re Simply Simple

    The Inogeni features a simple capture solution for: VLC, QuickTime, FFmpeg, Adobe Live Encoder to name but a few. Sophisticated video processing: up/down scaling and frame rate adaptation.

    Flexible Compatibility

    You can check the apps tested with it on their website. The Inogeni converters are compatible with all USB 3.0 host chipsets and motherboards. All OS's supported are supported too, including: Windows, OS X, Linux and Android. It runs with all media capture and streaming applications too. It also compatible with UVC, DirectShow, V4L2, QuickTime & AVFoundation so you really can’t go wrong.

    Dependable

    Solid and rugged professional-grade full metal enclosure. Field upgradeable firmware. Designed, fabricated, and expertly supported in Canada. Also comes with a 2-year warranty.

    Engineered by video professionals, this video broadcast equipment for professionals, it is the most compatible USB 3.0 device across most OSes and USB 3.0 chipsets. Remember that there’s no driver installation so you’ll have trouble-free operation, just Plug and Play! Also remember that since the list of features and software/hardware compatibilities is ever increasing, please see their website for the latest information.

  • Professional Camera Equipment: Discovering The New Tiffen PRO100 Series Of Filters

    Tiffen is bringing their prize winning Motion Picture and TV industry filters to photographers and videographers around the world with their brand new Pro 100 Series Filter gear. The adapter set attaches to your lens via the standard filter ring and then it allows you to use one or two of Tiffen’s MPTV 4x4 or 5x5 filters.

    Professional Camera Equipment

    Made precisely to work with Tiffen’s MPTV filters, the edge is sealed to stop any light spill, plus you can fully rotate it too. Tiffen says that the Pro 100 system will also come in two and three filter kit possibilities, allowing for photographers and videographers to make use of an assortment of filters for whatever their needs may be. The standards default filter size will be 77mm, but other ones ranging from 49-82mm will also be available.

    Tiffen has also added two originals to their diffusion line of filters, the Antique Pearlescent and the Warm Satin. These were made with 4K material in mind as well. Normally, these filters are intended to soften the skin in the mid tones, and bloom the highlights to give a resemblance to old films with glamorous leading ladies of the black and white era. While some may say that this can all be done in post nowadays thanks to filters in editing and post software, you can save a lot of time by doing it all in-camera especially if you’re on a budget. Plus, doing things the old fashioned way can be an awful lot of fun at times.

    The new filters encompass:

    • Extremely hard-wearing Aluminium Frame, equipped with rubber grips, allowing for a secure fit for the filters.
    • Holds up to two, 4mm thick glass filters
    • Fully rotatable adapter ring
    • Edge sealed to stop light leaks for long exposure photography
    • Works with adapter rings from 49mm-82mm

    3D Broadcast Ltd is a well-established professional broadcast company based at the world famous Pinewood Studios. We have many years of experience selling into the Broadcast and Corporate Market Place. Our Directors Martin Joannou, Paul Raeburn, and Philip O'Marra have created a fantastic reputation within the industry for quality and service too.

    3D Broadcast offers professional, impartial and unbiased advice to help you make the right choice when you need only the very best when it comes to cameras filters and most other gear you’d need on set as well.

  • Teradek Bolt 3000 & 1000 Wireless Transmitters Vs Teradek Bolt 300, 600 & 2000: Which Should You Buy?

    The Teradek Wireless Transmitter range comes with a huge choice of options to suit your needs.

    It’s a wireless transmitting system for HD video signals and its main utility lies in organising a suitable and effective, on-set monitoring scheme, such as a video village. Teradek’s Bolt series can wirelessly communicate a 4:2:2, 1080/60p video signal up to 300 feet for the base model with zero frame delay, which means that all of the noises and interruptions characteristic to a video village can be situated further away from the action.

    Going up the series, the most ground-breaking bolt we sell really transmits up to 3000 feet, which is truly astonishing.

    Teradek Bolt 3000 & 1000 wireless transmitters

    Bolt transmitters come in “unicast” and “multicast” variations. The Bolt Pro is the multicast model, and it allows users to transmit to numerous receivers at the same time, with safe AES 128 encryption. The Bolt Pro also features 3G-SDI connectivity with loop-through and an internal, rechargeable Li-ion battery with enough volume for roughly 60 minutes of run time. Both the Bolt Pro and the Bolt (unicast) sport a 6-28V LEMO DC input for linking an external power source. Bolt transmitters are also encased in a shaped aluminium enclosure, and the Bolt receiver is contained in ABS plastic. Additionally, a number of 1/4”-20 threaded holes deliver several mounting points for attaching the transmitter or receiver to a support system. In spite of its rigorous build quality, the Bolt transmitter weighs in at roughly 200 grams.

    The Bolt receiver has dual 3G/HD/SD-SDI outputs for either a two-monitor arrangement or one monitor and a Teradek Cube or Brik. Compatibility with Brik and Cube encoders lets the Bolt stream to an iOS device or another delivery network of your choosing over either HLS, ZiXi, RTMP, RTP, RTSP or MPEG-TS protocols. WSDI Pro technology allows the Bolt system to fine-tune frequency bands in real time, which allows the arrangement to harmonise with Wi-Fi and 5 GHz devices.

  • Best Professional Camera To Buy? Discovering The New Canon 5D Mark IV Camera

    The Canon EOS 5D series is probably one of the most identifiable series of cameras since the advent of digital cameras came about for professionals. This time the Mark IV is intended to appeal to the similar wide range of both photo buffs and professionals. It looks almost identical to its predecessor, but if it ain’t broke don’t fix it right? The camera receives substantial upgrades on the inside, counting: a higher-res sensor with Dual Pixel autofocus, 4K video, an advanced AF system, a touchscreen, better-quality weather-sealing, built-in Wi-Fi/NFC, an intervalometre and GPS. All this adds up to a camera that fits into Canon's product line suitably as the versatile full-frame choice.

    professional cameras

    It is constructed around the new 30.4MP CMOS sensor and uses the Digic 6+ processor. The AF system is straight from the flagship 1D X Mark II and embraces a whopping 61 AF points (41 of which are cross-type) with up to 24% extended vertical coverage when compared to the Mark III. The centre point is also sensitive to -3EV in One Shot mode, plus in live view, it’s sensitive to -4EV if you have a fast lens handy.

    4K video capture is a very welcome and very wanted extra and operators can capture in either 24 or 30p, although with a 1.64x crop. All footage is captured as Motion JPEG too. Furthermore, the camera lets you take 4K Frame Grabs, which basically gives you 30 fps stills shooting with (Dual Pixel) AF. The helpfulness of this may be contingent on how well-controlled the camera's rolling shutter is, and how satisfied you are with 8.8MP JPEGs in the 17:9 ratio, but it’s really remarkable how effective 4K/60p video capture is on the 1D X II for getting that critical moment captured.

    While conjuring up the Mark IV, Canon says it trawled forums and professional opinions from 5D-series operators and found that dynamic range, resolution, auto-focus precision and speed were at the top of the request list. On paper anyway, the Mark IV seems to address these users’ needs quite nicely:

    Canon 5D Mark IV Key Specs

    • New 30.4MP CMOS full-frame sensor with Dual Pixel AF
    • DCI 4K 30/24p video using Motion JPEG + 4K Frame Grab
    • 61-point AF system with 41 cross-type sensors (centre point sensitive to -3 EV)
    • Dual Pixel AF (sensitive to -4EV) for continuous Servo AF in stills (first for a full-frame Canon camera) and video
    • ISO 100-32000 (expandable to 102400)
    • 7 fps continuous shooting
    • Dual Pixel Raw (with image micro adjustment, bokeh shift, and ghosting reduction)
    • 150,000-pixel RGB+IR metering sensor
    • 1.62M-dot 3.2" full-time touchscreen
    • Wi-Fi w/ NFC + GPS
    • Built-in bulb timer interval timers

    Improved weather-sealing

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