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Broadcast Equipment Blog | 3D Broadcast Sales

  • 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

  • Find The Best Panasonic Camcorder: The Ultimate Guide

    Pro-quality video, for everybody.

    Whether you're a budding film maker, a knowledgeable videographer, a family person, these full-featured Panasonic camcorders make it easy to capture and share stunning video wherever you want, whether it’s on holiday or on a job. Common advanced features like image stabilization, WiFi/NFC and 4K Photo Mode make unforgettable images effortless to get.

    Panasonic AG-UX90 UX Series 25P Ultra Camcorder

    1

    With a snowballing demand for 4K video content, Panasonic is presenting the UX series to make 4K procurement even more reachable to video professionals. UX camcorders will deliver high-mobility shooting and workflow equal to our existing professionalintegrated-lens handhelds.

    AG-DVX200 4/3-type Fixed Lens 4K Camcorder

    2Following the breakthrough AG-DVX100, the new AG-DVX200 unveils itself as the world’s first1 4/3-type large format, 4K/60p (Using SDXC/SDHC Memory Cards compatible with UHS Speed Class 3 (U3) when utilising high bitrate recording mode of 100 Mbps or more) camcorder to sport an unified zoom lens too.

    Panasonic AJ-AC30 Lightweight 50Mb/s HD Camcorder with Built-in LED Light

    3The AG-AC30 is a handheld camcorder with excellent low-light features and many other professional features and tools, allowing the user to record gorgeous zoom shots and even big groups thanks to its wide focal range (zoom 20x and 29.5 mm wide angle).

    Its LED video light with 2 light filters contained within permits dependable shooting even in night scenes and dark location as the colour change filter adapts colour temperature while the diffusion filter softens the light source.

     Panasonic AG-AC90A Entry Level 3MOS Full HD AVCCAM

    4Panasonic AG-AC90A AVCCAM unites high image quality, innovative functions and effortless operation that professionals mandate in a sophisticated, easy-to-handle design. The 12x optical zoom begins at 29.8mm and ends at 383.7mm at the limit of its zoom range. The camera sports a high speed F1.5, BI (back-illuminated sensor) type 3MOS image sensors giving you Full-HD resolution. In addition to the high-quality pro PS/PH mode (1920 x 1080) recording, the AG-AC90A also supports PM mode (1280 x 720) and low-bit-rate CS mode (720 x 576) for distribution over a network if need be too.

    Panasonic AJ-PX270 AVC ULTRA Camcorder

    5The AJ-PX230 is an exceptional new model camcorder with a tremendously high cost to performance ratio.
    It sports a commanding CAM-type 22x zoom lens with a trio of manual rings, a 600% dynamic range with 1/3-type 3MOS (RGB) image sensors, and AVC-ULTRA* multi-codec capturing, including the high-quality AVC-Intra200 codec, all within an easy-to-operate, professional camera shape.

    As the last word in handheld camcorders, the AJ-PX230 offers high-quality recording for a multitude of uses, from ENG to video production.

     

  • 5 tips for using professional camcorders and shoot stunning videos

    Anybody can capture videos, but not everybody can capture appealing ones. Also, while some accept that recording good material is only attainable with quality gear, the fact is, this is only half of the equation.

    5 tips for using professional camcorders

    Getting great video requires training and lots of practice, and even top equipment, such as a professional camcorder, won’t do you any good if you don’t refine your skills, so here are some tips on how you can shoot gripping videos from now on.

    Although the basics always tell you to fill the frame with the subject, you shouldn’t be too scared of placing them a little off-centre. For example, when capturing kids who are moving around at the speed of light anyway, film them slightly to the right or left of the centre while they’re doing whatever they’re doing to make the shot more interesting visually.

    Overdoing the zoom is a widespread habit among new videographers, and this can result in amateur-looking material. It can also make people dizzy too, so should there need to be any zooming in, do so gradually and steadily, and don’t abruptly zoom out either. Furthermore, you may want to avoid of digital zoom as well, as all it does is blow up the footage so it will probably pixelate. Optical zooming is always better, since they offer superior video quality.

    Wide, all-encompassing shots are often used to determine the location of the footage, but you should use them economically. After such a shot, get down to the details. Start concentrating on the little details to build relationship with the viewer and pique their curiosity.

    Use numerous vantage points. For example, when documenting a football match from up in the nosebleeds, the subsequent footage might end up being a tedious to watch, they want to see the action. However, a video captured from diverse points in the stadium amplifies the production quality and drama of your footage because of the combination of shots.

    Shoot only the important moments, if you need to shoot sparingly, unless you have decent batteries and a patient editor. Go ahead and capture the entirety of that wedding if you can edit it down easily afterwards. If you can’t then stick to those obvious big moments throughout the day.

  • Buy Professional Video Cameras Tips

    A digital camera which can shoot video or a standard HD camcorder will do what you need if you just want to reminisce over your holidays every once in a while or record your baby’s first words and steps. So why would anybody shell out more for a professional grade video camera? The important part is the word “professional.” If you want to make some serious money and potentially a business from your video efforts, you’ll need the characteristics only a professional video camera has to give.

    http://www.3dbroadcastsales.com/cameras

    Let’s look at a few of the advanced features that set a professional camcorder apart from the herd.

    Manual control

    For amateur home video, you can always use autofocus, scene modes and other pre-sets to help get a clear image, even if you’re not the next Orson Welles. For a professional shoot, you’ll want to have direct manual control of each setting, so you can indulge your creativity and make the shot look exactly the way you imagined it.

    Professional connectors 

    In a professional setting, the camera will often be connected to an outboard monitor and one or more microphones. Pro cameras are set up to make secure video connections via SDI (serial digital interface) or the next best thing, HDMI. For sound, XLR connections are the gold standard.

    Recording formats

    Consumer video and audio are typically compressed so that we can store a lot of files in one place. For a professional shoot, quality trumps convenience, so you’ll want to make sure your camera uses a high-quality recording format.

    Professional video cameras typically record in the AVCHD and MP4 formats. AVCHD is the higher-quality format that offers Blu-ray quality HD video. The more compressed MP4 format is commonly used for posting video on the web. MP4 is still fairly high quality, but it takes up less memory space on a hard drive or website. Cameras with dual memory card slots often record both codecs simultaneously.

    Larger sensor

    A larger image sensor allows for higher resolution and more detail. That’s why professional video often looks more sharp and clear than amateur footage.

    However, the sensor on a professional DSLR camera is frequently larger than the one on a pro video camera, so in some cases video experts prefer to shoot with the DSLR when possible. The larger sensor and easy access to interchangeable lenses allows a filmmaker to create a more “film-like” look on a budget. A DSLR may not handle fast panning as well as a professional video camera, and it definitely lacks the higher-end audio connections, but it’s a tempting option for someone who’s just getting started.

    Image stabilization

    Sure, you’re shooting moving images, but not all movement is good. A professional camera will be able to record a steady, clear image even when the camera operator is in motion.

    4k video is the next big thing

    If you want to shoot video that will look spectacular on the next generation of screens, you’ll need a camera that can record in ultra-high resolution. It’s not a common feature yet, and editing 4K footage is daunting, but a few high-end cameras are getting ahead of the curve.

  • Buy Broadcast Lens: The Complete Guide

    Reaching the correct choice of lenses is of vital importance. There are whole arrays of broadcast zoom lenses, HD Primes lenses and cine-style zoom lenses intended precisely for HD, as well as many diverse 35mm lens adapters counting optional mounts to be able to fit motion picture film and also stills lenses as well, so you’re spoilt for choice if you don’t know what to look for.

    broadcast lens

    All of these lenses have the potential to give you great production value, so the choices can be overwhelming.

    Keep these tips in the back of your mind at all times:

    • Lenses make a huge impression to the production values of a given shoot.
    • HD broadcast zoom lenses are significantly better than SD broadcast zoom lenses and the variance is obvious when you see the footage.
    • HD cine-style zoom lenses are capable of better production values than video-style zooms as a result of much better optics, reduced focus breathing, and improved focus control for pulling focus.
    • HD Prime lenses are proficient at giving you a shallower depth of field than HD zoom lenses (when used at the wider apertures) but the swiftness of a production is slower when using Primes, as lenses will need to be regularly changed instead of just resizing the image via zooming instead so keep this in mind when having production meetings.
    • The size of the sensor affects both the viewing angle of the picture and also the corresponding depth of field quite a lot.
    • 35mm adapters come in numerous different shapes and sizes and these can work brilliantly with a whole host of cameras with a suitable adapter to confine the depth of field but there are some disadvantages to using them and these appear predominantly with the cheaper adapters which are not very sturdy.
    • There are several varieties of 35mm lenses obtainable, most of which are very pricey to buy/hire. On the other hand, still lenses are a possibility but there are many disadvantages to using these for film production instead.

    The main variance between cine-style and video-style broadcast lenses

    Conventional broadcast lenses are intended to be used on a camera which is shoulder-mounted or tripod-mounted. Therefore, they permit the camera operator to work or adjust focus whilst shooting by themselves. In order to differentiate them from the cine-style zoom lenses, they are also called sometimes called video-style lenses or ENG lenses, which stand for Electronic New Gathering.

    The physical restrictions of movement of a person's arm also restricts the focus adjustment through the entire focussing range of a broadcast lens in one movement, to roughly 1/3 of a turn. Consequently, for practical reasons, the focus tuning on a broadcast lens is then limited to around 1/3 of a turn, which is great for shoulder mounted sue but not so good for drama where the need for subtle focus adjustment is really needed.

  • Tips For Shooting Great Video

    Here are some shooting guidelines to help you evade some of these common blunders.

    We always recommend that you go out and record some video first to get to grips, and then read through these tips while going over your footage to emphasize what you need to dodge next time.

    Handheld Camcorders - shooting great video

    Preparing Your Shoot

    Discuss your shoot with your production team and make sure you’re strong on what shots you need to tell your story.

    If you’re on your own, then jot down a list of shots you need. Write the story in advance in your head, and detail the essentials you want to get video of to tell that story.

    Reflect about what’s going to look great visually, and how your shots are going to come together consecutively in the edit.

    Freeze up Your Shots

    Remember to hold your shots for at least 15 seconds, before you do any movement with a professional camera, such as panning zooming, or moving the frame at all.

    By doing this, you’ll be sure you have adequate footage of a scene to work with later in the edit.

    If you’re just starting out, then remember to count the numbers in your head my maintaining a steady shot to make sure you’ve held it for long enough, your future self will be so grateful when they are toiling away editing.

    Remember that it’s much easier to cut down 15 seconds to 2 seconds rather than the other way around, which is actually impossible.

    Framing and Composing Your Shots

    Be conscious of composition in your shots and how you position or frame your shots, especially with interviews or talking heads in close-up.

    Let's say for example, you should always avoid a shot of anyone with a lamp post or tree directly behind them. It will look like it’s growing out of their head and is always more noticeable to the eventual viewer so remember to compose your shots appropriately.

    When filming interviews pay attention to your environments and don’t be quiet about reorganising fixtures, relocating things on a desk, or pushing plants aside to improve the scenery, or asking the subject of your shots to alter their position so you can appropriately frame the shot.

    Lastly, if you’re having technical difficulties, don’t be scared to take charge and halt the interview until you can suitably set up the shot your happy with.

    Depth of Field

    Be conscious of ways to intensify the sense of depth inside your shots. If you’re shooting someone, try to embrace other objects in the background or foreground where appropriate that will give the viewer a greater sense of depth. That way the interview subject won’t seem to be just a 2D object on the screen.

    Also keep in mind that a wide angle shot will deliver a much better depth of field than a telephoto shot where you’ve zoomed in on your subject instead, so always go with the wider lens if you have it available.

    Happy shooting.

  • How To Buy Lens Mount Adapters That Are Right For Your Needs

    Whether you want to try glass from another manufacturer or want put your old lenses to good use, lens adapters may save the day.

    Do you wish to make your camera setup even more adaptable? Lens adapters can open up a vast amount to your world and give you a plethora of alternatives too, it doesn’t matter if the glass you’re after is bizarre, classic, or simply no longer made. These magical rings can make many lenses suitable on cameras they weren’t created for. Here’s how to put adapters to work.lens mount adapter

    With the help of a lens mount adapter, you’ll be able to put nearly any lens you want on your precious camera body. They allow you to use a diversity of delightful alternatives, including some truly unusual optics and some masterpieces that are so brilliant that you may wonder why they aren’t still constructed anymore. Though the lenses built for your camera may be fantastic, having options is always nice.

    Adapters are typically low-tech, nothing more than a machined circle that sits between your lens and your camera. One end is intended to take a specific lens brand, and the other end is intended to sit onto your camera. Usually, there is no communications between the lens to permit the lens to send data to the camera (or vice versa), so lenses driven solely by electronic means, particularly autofocus and auto aperture, won’t work when the lens is mounted on the adapter. You will need to focus manually and physically stop down the aperture prior to shooting. The lens also won’t be able to transfer EXIF data to the camera either as the chips won’t be able to talk to each other due to age, and that’s if your odd lens has chips at all, but that makes it more likely to be all manually controlled which is always a blessing.

    Some adapters contain a focus-affirmation chip that does indeed answer some of your prayers and allows the camera to signal when the subject is in focus, using a perceptible beep and/or icon shown in the viewfinder.

    Sadly, not every lens is compliant to every camera system. Most adapters are constructed for use with elder lenses that have manual aperture rings, which must be adjusted by the user. Many contemporary lenses have microelectronic aperture control that won’t work on other cameras. Adapter constructors have worked around this problem by including a physical actuator for the lens aperture built into the adapter, but you’ll still have to manually set the aperture, only by adjusting the adapter, and not the lens itself.

    We hope this short guide has helped you in deciding which adapter to buy. Remember that if you can adapt a lens to your camera, you can also save a fortune by grabbing yourself a bargain older lens which could look just as good as the modern day ones do.

  • How Buy The Best Used Broadcast Equipment

    It goes without saying that broadcasting equipment plays an important role in broadcasting industry, and can have an impact on television as a whole too. Good quality broadcast equipment ensures the easy running of procedures such as capturing and editing raw information as well transmitting the final product into the home. Nevertheless, the price of acquiring broadcast equipment does not come cheap, thereby leading to individuals purchasing used broadcast equipment.

    Used Broadcast Equipment

    The market for used broadcast equipment is currently undergoing an expansion as more and more folks opt for used broadcasting gear such as camcorders, cameras, all types of lenses, and also used sound apparatus which embraces things from microphones, speakers, switchers to audio mixers to name a few. The purchasing of second hand broadcast equipment allows a user to continue with any vital production and broadcasting in times of financial hardship as well in order to keep operations running buttery smooth.

    There are many ways in which a prospective buyer can purchase second hand broadcast equipment, so you don’t just have to purchase your equipment from us (although we do price match). The opportunity or method used in the procurement of your broadcast gear will be swayed by financial capability as well as obtainability of the equipment obviously.

    Even though purchasing second-hand broadcast equipment delivers a chance for a person to own decent equipment at a reduced price, it also poses a challenge to the buyer in respect to the genuineness, validity and also superiority of the equipment itself. Here is where we try to alleviate any of your anxieties and woes regarding this issue as it can be intimidating for many people.

    So no matter where you your used broadcast equipment from, always keep the following in mind:

    • Certified and approved suppliers: Acquisition of used lenses, switchers, used sound gear, and mixers amongst other equipment should be completed through registered dealers. Buying equipment from a back alley in London is obviously very risky and the buyer risks losing money or purchasing defective equipment from dishonest resellers.
    • Genuine Equipment: All equipment should come with an ownership or purchase receipt, this guarantees that the equipment is genuine. The buyer also needs to be able to classify an honest receipt from a fake one, as well as tell the difference between original equipment and discounted copies.
    • Warranty: Purchasing equipment from a merchant who will give you warranties, and also following up on recommendations from reliable sources such as industry colleagues or any friends with experience will more often than not give confidence to the buyer as well.

    Here at 3D Broadcast we offer much more than just great prices though, but we don't want price to be a reason you shop elsewhere.

    That’s why if you find that one of our competitors has the same product at a cheaper price, we'll match it.

  • The New Panavision Professional Camera /RED Digital XL Features

    Say hello to the new Panavision/RED Digital XL, an amazing new 8K professional camera with anamorphic 4K recording too.

    Professional Camera Panavision_RED_DXL_Camera

    Here’s what happens when you combine get three professional camera manufacturers together and they create a new type of professional cinematic camera. The result of their efforts is the spectacular design and specifications of the new Millenium Digital XL that has arisen from a co-operative effort between Panavision, RED, and the Panavision owned firm Light Iron.

    This really is one astonishing piece of professional recording gear by the looks of it and comes with the sort of specs that can deliver a wonderful capture and workflow experience for a variety of professional videographers and cinematography specialists.

    The DXL comes with a large format 8K RED sensor that has been adjusted for Panavision’s wide range of large format lenses. Therefore, this new camera brings striking 8K RAW video files, 4K footage in ProRes or DNx and, most ground-breaking and exceptional of all, it’s capable of bringing true 4K anamorphic footage, which is a first for the motion picture business.

    This commanding new camera seems to have been fashioned in reply to a thriving new Hollywood influenced plea for Large-format cinematography, particularly in the wake of the large format films such as “The Revenant” and “Captain America: Civil War” which used other high-end 8K digital professionals like the Arri Alexa 65 or RED’s 8K Red Weapon camera.

    Characteristics of the DXL’s remarkably dense body which will be recognisable to users of comparable older cameras comprise of a switchable power module, numerous independent video outputs, built-in WiFi, dual side menus for both the camera operator and the assistants and an extremely modular layout. However, it’s really the new design, recording and workflow features which are really exciting everyone right now.

    Most significantly in terms of recording capacity, the new Panavision T-Series lenses for the Millenium DXL, joint with the camera’s 8K RED sensor let this camera capture the film industry’s only current 4K anamorphic image shooting ability, serving us up 4K by 5K images which totally surpasses something like the Arri Alexa’s 7-megapixel footage.

    As mentioned above, the Millenium DXL is one extremely light professional large-format shooter for all the specifications it gives you. At a body weight of just over 4.5Kg, it’s less than half the weight of the Arri Alexa 65’s weight of 10.4Kg. Plus, thanks to Panavision’s tremendously effective built-in cooling fans, the small body of the DXL keeps cool much better than comparably formidable professional cameras like the Alexa, Alexa 65, or even RED’s Red Weapon beast too.

    We can’t wait to unleash this to the world.

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