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Broadcast Equipment Blog | 3D Broadcast Sales

  • Buy Professional Camera Batteries At 3D Broadcast

    Buy camera batteries: what we offer and tips on how to extend the battery life

    Here at 3D Broadcast we sell the very best quality when it comes to purchasing professional camera batteries such as the industry standard V-lock batteries and Sony L series batteries. We also sell all of the relevant accessories you’ll need to commit to a full and productive day of shooting, including all of the possible mounting options required to make your rig easier to setup quickly and efficiently, and the charging units so you are able to charge more than one battery at a time, thus gaining ample amounts of charging potential within one small unit.

    Buy Professional Camera Batteries

    All of the camera battery and accessories are designed to really keep you operating without a hitch as a professional need to. Furthermore, with the sheer amount of accessories we sell, which currently stands at 233 types, you won’t ever need worry about how long your batteries will last either.

    If you want to buy professional camera batteries, we sell professional batteries and accessories from some of the most reputable manufacturers in the industry including: Anton, Hawk-Woods, IDX, PAG, Sony, and Swit. This is in order to cater to every type of camera an operator or DP will need to function efficiently throughout the day without any technical downtime.

    When you have to buy camera batteries, you’ll want to do your best to keep them that way. Here a few tips you should keep handy (or give to your assistant) to the most out of them and keep them running for years to come.

    To start off with, it seems pretty clear but can be easily overlooked, and that is TURN OFF YOUR CAMERA WHEN IT’S NOT IN USE! Especially cameras devoid of a viewfinder as they always make use of their digital display which needs power and they can drain your batteries pretty fast if left on during any downtime.

    See in your mind's eye, your shot in advance. With huge storage space on memory cards nowadays, professional photographers can take multiple pictures on an impulse. While the images can later be organised, every picture is significant, and it could very well be your last for the day if the battery dies. So make sure your composition and set up is correct and you have a good idea of what you are trying to accomplish before turning the camera on.

    During the cold weather, when you buy your nice new professional batteries, they can still drop their power quite rapidly, as you are probably aware with your car in the winter, it’s simply physics. Well the same applies with all batteries. A simple tip is to keep your professional batteries inside your house when they’re not in use. If your camera isn’t in a warm place keep them in a warm insulated pouch, or better yet, keep them on your body so you can keep them warm personally if you’re out and about.

    For those cameras that have an image steadying option, keep it turned off it you can, especially if it’s on a tripod for obvious reasons. As with autofocus, the battery is drained from continually moving bits inside of the lens to compensate for a shaky hand, and this is why it’s far more power saving to turn it off when it’s not needed. Hopefully your professional rig will have some shock absorbent material anyway to absorb some of the impact from your body movement.

  • What To Consider Before To Buy Cinematic Cameras

    Buy cinematic cameras: what camera shall I choose?

    The big sensored digital cinema camera that we’re all familiar with today has trailed behind a stimulating history of cinematic camera evolution. Remember that it’s digital video, not film, or celluloid, and the idiom ‘digital film’ doesn’t really make sense either.

    Appreciating the relatively brief past of the cinematic digital camera is helpful in understanding why we now have lots of different cinematic cameras today, and why they have congregated on some important similarities which have become the ‘standard’. It’ll also help in realising why there are so many variables between brands as well you can choose when the time to buy a cinematic camera arrives.

    Buy Cinematic Cameras

    From the miniDV home camcorder style cameras, to Canon’s XL1 and prevalent Sony PD150, from interlaced standard definition to professional high definition broadcast cameras the truest heritage of today’s large sensor cameras originates from TV and broadcast.

    It may feel like an insult to our artistic side, but our digital cinematic cameras are more closely connected to DV than to celluloid film. However, it’s the aspiration for a more cinematic picture quality with more filmic features that gave digital video technology a key change in direction. This yearning did not originate from the professionals in broadcasting, but from the profound dissatisfaction coming from the new generation of indie filmmakers.

    Nowadays, the truly cinematic cameras are an outcome of the most open-minded of yesterday’s geniuses chasing that dream of having 35mm quality without the film being involved and the associated costs. This culminated into what is now two branches of the same digital ‘tree’. The first and original branch endures today by providing us with the latest in HD and UHD broadcast cameras and broadcast zoom lenses, where resolution is at the forefront of the mind-set.

    The second branch has led to the ‘35mm’ cinematic cameras, established to function within the current 35mm film camera world and is intended to fulfil vastly different needs from the first branch. These are the needs of the big screen, where image quality, and not necessarily resolution, is dominant. Ergonomically the camera needs to fit within the film set and the current film camera unit, not just to a lone operator often seen in the broadcasting world.

    If you need to buy cinematic cameras, nowadays you have more choice than ever when you go to buy equipment and accessories, spread over a much wider range of prices and features than could have been conceived a decade ago. The extensive digital cinematic camera market you as a customer and us a provider, simply did not exist before. It’s thanks to those visionaries that we now operate this diverse industry.

    Remember that there is no such thing as the camera for everyone. They have all grown and evolved in form, features and function to achieve their own particular fortes, but these days you are certain to find more than a few choices that will suit your distinct necessities when the time to buy a cinematic camera comes.

  • Buy Professional Camera Rigs: what you need to know

    All you need to know when you decide to buy a professional camera rig.

    If you want to buy professional camera rigs, be aware that they come in a huge amount of shapes and sizes. Almost as many as there are cameras probably. They’re time and again always modular, but there are a few cheaper rigs which will always deviate from the standard, and you’ll often regret buying them down the road. Each build of a rig has a pretty exact purpose, but dependent on the style of the shooter, there are no real hard and fast rules accompanying any rig.

    Buy Professional Camera Rigs

    You may have seen them at camera trade shows. Those devices fixed to or surrounding cameras to help mount any amount of additional equipment, within reason as to how much weight your poor back can take. Many of them sport mounts to add lights, monitors or mics, almost all of them are bespoke too.

    Now, the term camera ‘rig’ can be a bit vague, as it’s often used to label a camera operators collection of cameras, lenses, lights, and mics to name but a few. However, there isn’t any other name which comes close to describing the setup accurately either. The name has simply been stuck in place to usually mean ‘shoulder rig’ or another portable equivalent. By its description, a rig is a modular piece of apparatus used to lengthen the practicality of a camera, whether through allowing additional shooting styles, accommodating for extra gear to be mounted securely, or for steadying the movement within the frame.

    When you have decided to buy professional camera rigs, searching for the perfect one, as with all gear, it’s vital to consider a few caveats. The first is to be certain it’s going to be good enough for all of your existing and upcoming projects and even beyond if possible. It’s always feasible to upgrade further down the line, but acquiring something with respectable quality and expandability is certainly worth doing at the start. The other contemplation is that the rig is appropriate for the gear that will be fixed to it. Many rigs have weight limits, which you shouldn’t ever risk going over, and working out if a setup will function with the gear you want to use is vital.

    Buying a professional camera rig for shooting is an exhilarating proposition, capable of simplifying and expanding the experience of the operator. Selecting rigs and apparatus as they feed into stability and ease of use, accessory mounting options should be a pleasurable experience, as the take away will be better quality footage, easier and more fruitful shooting too. Just be sure to choose which options are practical for now and in the future, and which are just there to make something look pretty or you just to spend unnecessarily.

  • Tips On How To Buy Professional Camera Cases

    Buy Professional Camera Cases: LowePro Expands Their ProTactic Lineup of Camera Bags

    If you want to buy professional camera cases, bear in mind that LowePro bags are among our most popular professional camera cases and bags, and today they’re announcing their ProTactic series of bags. These bags are intended for both mirrorless and DSLR camera users. So what’s so special about the bags you may ask? LowePro is flaunting their MaxFit scheme of padded and fully changeable dividers, a multiple-strap form, and also a weather cover. Here are some additional details from the firm’s press release:

    Buy Professional Camera Cases

    • ProTactic SH 120 AW – A small but robust shoulder bag with room for a mirrorless kit, such as the Olympus OM-D E-M1, with attached lens, extra lens or flash, smartphone and personal essentials.
    • ProTactic SH 180 AW – A mid-sized shoulder bag that fits a standard DSLR, such as the Nikon D750, with a 24-70mm lens attached, one to two extra lenses, a tablet, smartphone and small personal items.
    • ProTactic SH 200 AW – A modern, photojournalist-style shoulder bag designed to fit a professional DSLR with a classic 70-200mm lens kit, two to three extra lenses or speedlights, up to a 13-inch laptop and tablet, smartphone, and accessories.
    • ProTactic BP 250 AW – A scaled-down pack that protects a complete mirrorless kit with a 12-40mm lens attached, space for three to four extra lenses or flashes, an 11-inch MacBook Air®, smartphone and accessories.


    We’re certain that there’s a camera bag or case available for you to buy in our store, with these bad boys only adding to the plethora of professional bags and cases you’ll ever need we think. Give us a call our drop us an email if you think you haven’t seen anything which suits your needs and setup. We’re sure to find you something right up your street.

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

    3D Broadcast offers professional, impartial and unbiased advice to help you make the right choice in acquisition, post-production and media distribution solutions.

    With an ever growing international client base including freelancers, educational establishments, independent production companies, major corporations and broadcasters, 3D Broadcast is able to source and supply equipment from major manufactures that include Panasonic, Sony, Canon, Ikegami, Blackmagic and Vitec group as well as many other camera manufacturers, as well as the leading professional accessory companies you’ll need to store and keep safe these high quality pieces of hardware.

    It is our aim to offer a complete service, at competitive prices and above all to offer you a pleasant and pleasurable experience when dealing with 3D Broadcast. 3D Broadcast striving for excellence.

  • Want To Buy Lens Mount Adapters? The Complete Guide

    What do I need to buy lens mount adapters?

    Buying lens mount adapter allows you use one type of brand or lens on a camera for which it was not intended for.

    For instance, Canon users can mount Nikon, Olympus, Contax/Zeiss, and others via the use of a lens mount adapter.

    Why use a lens adapter?

    No company hasBuy Lens Mount Adapters an absolutely "best" collection of lenses. There are constantly a small number of standout lenses in any lens lineup; being able to make of use of these lenses on your branded camera allows you to use those very best lenses, whatever the "best" currently is.

    Landscape photographers or those who habitually use a tripod should ponder hard about the options: on a tripod a manually featured lens is often appropriate, and this opens up the prospects for results with the top lenses from any number of brands.

    Canon EOS customers can use the Nikon-mount Zeiss ZF/ZF.2 line, but as of 2010, almost all of the entire line is now accessible in ZE (Canon) mount. However, a lens mount adapter allows the complete ZF line to be used on a Canon, so when you buy the ZF mount lens, it allows use on both Nikon and Canon body mounts, for those who own both brands, or if you may switch camera brands at  later date.

    When lens adapters do not work.

    Nikon's new "G" series of lenses do not have an aperture ring; the aperture is now controlled electronically. Most lens adapters are simple mechanical devices, but some new adapters include electronic control for G series lenses.

    In other cases there are mechanical obstructions. Some Leica R lenses have a protruding metal part that will hit the mirror of some DSLRs (Do not want!!!). Occasionally, this metal part can sometimes be physically removed by filing it off, other time it’s not worth the effort.

    How many adapters I need?

    It’s recommend that you purchase one adapter for each lens you want to use; otherwise you'll be continually substituting the adapter for another, and you'll need to keep two lens caps on you instead of one. With the lens mount adapter in place, you'll also need a rear lens cap too for the adapter to use.

    Quality issues

    Lens adapters differ widely in class. The most rudimentary ones are cheap aluminium of thin build quality which can lead to your lens not focussing to infinity or being slightly blurry on one side.

    If you want to buy lens mount adapters, you have to be aware too, for the basic models, that they also have poor or no black coating which can flake off. Some of this flaked off paint can get onto the sensor and stay there too, which is another big no-no.

    While the cheap adapters can be had for up to £50, none of them were up to the task. Some of them wouldn't even lock onto the lens properly, which means your lens isn’t being held onto the body correctly, with no positive click sound to ease your mind.

    A good quality lens adapter is all metal. A lens mount adapter must be a robust and precision piece of hardware. This is extremely important when adapting a big and heavy lens. Finally, an even thickness of the mount is vital to especially with wide angle lenses, where the slightest change will blur one side of the image.

  • Where To Find The Best Used Broadcast Equipment

    The used broadcast equipment range at 3D Broadcast

    At 3D Broadcast we stock a great range of used broadcast equipment which is sold as in full working order after being checked and tested by our very own in-house specialists. If you are after camera & camcorder equipment that is just as good as new yet at a much lower price, our used broadcast equipment is for you.

    To find out more about our used broadcast equipment, including guarantees and current condition of the units, please feel free to get in touch with our sales department for more information. For a great range of used camera & camcorder equipment 3D Broadcast is your number one online store.

    If you are looking toUsed Broadcast Equipment cut costs, purchase broadcast equipment that doesn't cost an arm or a leg, or if you are a bit of a reconditioning fanatic, used broadcast camera & camcorder equipment is a fantastic way to get all of the features new broadcast equipment does only it has been used and vouched for by somebody else previously. The advantages of used broadcast equipment are clear; it is discounted a lot more than new equipment, it’s better for the environment than new equipment due to it being re-used and not sent to land fill. Additionally, if serviced correctly it will last for years to come and will last just as long as a new product.

    We use a standard guide to explain the condition of our used broadcast products. If you would favour a more thorough description, please feel free to call us and we’ll chat through it with you over the phone.

    Rest assured that we do take care of our used broadcast equipment. All items are operationally checked, are in good working order and, of course, are covered by our Peace of Mind guarantee.

    With an ever growing international client base including freelancers, educational establishments, independent production companies, major corporations and broadcasters, 3D Broadcast is able to source and supply new and used equipment from big manufactures that comprise of Panasonic, Sony, Canon, and Blackmagic as well as many others.

    It is our main goal to offer a comprehensive service, at viable prices and above all to offer you a pleasing and satisfying experience when dealing with 3D Broadcast.

    We are based in Pinewood Studios which is located 20 miles from Soho and just 8 miles from Heathrow, it is also close to the M4, M25 and M40 giving direct access to other major UK cities and a multitude of UK locations.

  • Discovering The New Professional Camcorder Features From Canon

    The new professional camcorder Canon XC10

    The XC10 is Canon's entry-level Cinema EOS professional camcorder. Still, it's a quite different when compared to other cameras in Cinema EOS range, such as the C300 line.

    For starters, it's price puts it much nearer to consumer-grade camcorders. This is also a camcorder with an immovable lens, rather than EF mount, and there's no Super 35 sensor inside either.

    On the other hand, the XC10 does convey a generous one-inch CMOS sensor and the capability of capturing 4K video. So could this finally be the professional camcorder-DSLR hybrid people have been itching to get their hands on?

    The key reason Professional Camcorderbehind videomakers seeing DSLRs as so eye-catching is of course the image quality offered, and excelling in this space allows the XC10 to be excused for what are only a few shortfalls. It's very capable in the image quality department, and the photos it generates are a cut above what the usual camcorders with lesser chips and sensors are capable of. Specifically, the DOF at it’s widest of f/2.8 can create very attractive shallow focus effects.

    The video shot in 4K is overflowing with details, and there's unquestionably no indication of artefacts due to the huge bitrate. Even when left in default mode, the colours are tremendously normal and precise. With the additional looks, extensive dynamic range and Canon C-Log possibilities, there's a massive amount that can be done to give your material exactly the look you want, or you can match it simply to material shot on another camcorder.

    So should I need this professional camcorder?

    In terms of the professional camcorder, the XC10 will win you over, despite some of its faults. However, if you're looking for the be all and end all of devices that is as happy being a DSLR as it is a camcorder, this isn't quite there.

    The XC10 is more inclined towards its video capabilities than stills, as you’d expect from the camcorder brand. However, the digital photos are far superior to those of a run of the mill camcorder. You're more likely to be pulling your stills off of your 4K footage anyway.

    For a devotee who films more video than takes photos, this could be a brilliant camcorder for capturing what is almost cinema ready material. It could also be great for film students, or ENG. It's a little pricey when compared to the DSLR possibility, but the 4K video format used is leagues above any DSLR, and its video shooting capability is much easier to work with as you can imagine for a camcorder.

    The Canon XC10 is not quite the professional DSLR-camcorder cross it touts itself as being, but it captures great 4K footage.

  • The New Fujifilm Broadcast Lens

    Discover the new  Fujifilm broadcast lens that brags a remarkable 99x zoom competency

    Even if you've paid upwards of nearly £10,000 on your new DSLR kit, even with a huge telephoto lens, it still won't be able to contest with the gear utilised for professional TV broadcasts. Predominantly when it comes to sports. In December, Fujifilm released an amazing new wide angle broadcast lens that brags a remarkable 99x zoom competency.

    In respect ofBroadcast Lens figures, the lens has an unbelievably wide work array. It's able to go as wide as 8.4 millimetres, and zoom in as far as 832 millimetres. So it's just as proficient at following the action on a tennis match or football game as it is zooming into the back of the stands to get a view of the punters up the back. Plus, when the tens of thousands of fans in the stadium get a little too enthusiastic, the broadcast lens's advanced image stabilisation hardware keeps the image firm and steady even when you’re zoomed in all the way.

    In addition, and because no broadcasted sport occasion is whole these days without the 3d CG enhancements we get overlaid onto our screens, along with the ads inserted onto any flat surface, Fujifilm's new broadcast lens contains a 16-bit encoder to yield real-time lens data such as zoom and focus information. This data can then be fed into the broadcaster’s graphics desk guaranteeing that the superimposed graphics look as realistic on-screen as they can, no matter what the camera is pointing at.

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

    3D Broadcast offers professional, impartial and unbiased advice to help you make the right choice in acquisition, post-production and media distribution solutions.

    With an ever growing international client base including freelancers, educational establishments, independent production companies, major corporations and broadcasters, 3D Broadcast is able to source and supply equipment from major manufactures that include Panasonic, Sony, Canon, Ikegami, Blackmagic and Vitec group as well as many others.

    It is our aim to offer a complete service, at competitive prices and above all to offer you a pleasant and pleasurable experience when dealing with 3D Broadcast. 3D Broadcast striving for excellence.

  • The Latest Sony Professional Camcorders

    Sony’s PXW-FS5 is another camera and manufacturing member of Sony’s latest addition to the world of compacted professional camcorders and it does an absolutely spectacular job of it. This particular model packs a huge punch for its small size. With some excellent perks, excellent flexibility and really professional production quality in its photos and video specifically, the 4K-capable PXW-FS5 is a multipurpose grab-and-shoot camcorder that’s ideal for pros who require some serious yet still lightweight hardware to carry for when they’re on the go and need to be quick on their feet.

    The PXW-FS5 can capture some outstanding quality footage even if you’re in some of the most problematic shooting conditions, and it creates both spectacular video and delightfully sharp still images too. Also, the imaginative in-camera editing facets which go together with the PXW-FS5’s technology are surprisingly powerful.

    This is certainly a camcorder with very few flaws and will make a superb choice as a professional camcorder for anyone who requires shooting quality on location which is of a high calibre. The FS5 is also an outstanding choice for many professional corporate, documentary, movie and online video production uses.

    Professional Camcorders

    This camera comes with a 4K UHD high definition Super35 Exmor CMOS sensor with a complement of 11.6 million pixels and 8.3 million effective pixels, and the quality fashioned within the footage as a result is superb with video specifically. Details are captured that otherwise wouldn’t be visible on those 1080p video professional camcorders when played back, and the fully integrated, large size, and sensitivity of the powerful sensor gives you some great shallow depth and superb low light shooting ability with very low noise levels. Part of the cause for this is the presence of what seems to be one equally brilliant image handling engine as the native ISO in this professional camcorder isn’t actually that high but low light shots still come out looking fabulous regardless.

    The Sony PXW-FS5 / FS5K Super 35 4K UHD professional camcorder comes out on top as a 4K UHD professional camcorder for professional level shooting. Its specifications are resourceful and robust, the quality of its 4K UHD video and Full HD video is very good indeed and on the whole, this compact professional camcorder gives you some of the best Super 35mm camera footage you can get in the marketplace in the price bracket. The very minor defects it possesses are not really worth mentioning so the FS5 is strongly recommended for anybody who wants to do some important video recording in difficult, prolonged field settings while being safe in the knowledge that their footage will come out on top.

  • Here’s why mobile phones won't ever replace professional cameras

    We all know of the ever popular iPhone 6 and its big brother the 6 Plus. It’s impressive to say the least, as are most other flagship phones on the market. The iPhone has a backside illuminated sensor, an f/2.2 lens, and optical image stabilization, but all of that is wasted if Apple or any other firm put these features in, in an attempt to encroach on the DSLR market.

    Professional Cameras

    These flagship phone cameras are fast, quick to respond, it takes usually good images, and most significantly, allows me to share them rapidly and effortlessly.

    Most professional photographers these days will have something like a 5D Mark III or it’s Nikon equivalent. It’s a very decent professional camera, it’s adaptable, can deal with any lighting (or lack of) that’s thrown at it, and you can count on it to get the shot you want if handled correctly.

    With the increase of smartphones, many have lamented or cheered for the death of the DSLR, banishing it to antiquity with its celluloid brothers. It’s difficult to remember the last time a professional photographer was seen using just a smartphone in the field though. That doesn’t mean there weren’t a ton of more smartphones outnumbering the DSLRs in London’s parks or museums, but great quantity does not indicate superiority.

    No matter how astonishing technology gets, there are some ultimate restrictions that will always be in the way for smartphones, and that is sensor size.

    Larger sensors are generally superior sensors. They can collect more light and give more control over the depth of field. The sensor in a 5D Mark III is 50x times than the iPhone too. That large sensor lets you capture images that are physically impossible with a phone.

    DSLRs also feature interchangeable lenses. Phone producers have to find the balance between wide-angle and telephoto and often, the telephoto side loses. On top of this, the autofocus capabilities of modern high-level professional cameras are simply unparalleled by smartphones.

    One often ignored aspect is the ergonomics of professional cameras against smartphones. The modern smartphone is destined to cover countless of jobs that used to be set aside for separate devices. It’s problematic and slightly cumbersome to hold a smartphone in front of you, and frame your shot via a live view through a screen. A well-designed professional camera fits into your hand. Inside of a few snaps, the buttons are instinctively at your fingertips and you can fine-tune almost any function minus the need to ever take your eye away from the viewfinder. It allows for uninterrupted creative flow.

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