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Broadcast Equipment Blog | 3D Broadcast Sales

  • 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.

  • How To Buy Camera Adapters to make your camera system more flexible

    Whether you want to try lenses from another producer or want to put your old trusted glass to good use, lens adapters come to the rescue.

    Want to buy camera adapters to make your camera system even more flexible? Buying a lens adapter can open your world to an array of alternatives—whether the glass you crave is bizarre, classic, or simply no longer made. These magic rings can make many lenses fit on cameras they weren’t made for.

    ag-ca300gLens adapters allow you to use a variety of wonderful alternative lenses—including some truly exotic optics and some classics that are so exceptional that you may wonder why they aren’t still made. Although the lenses made for your camera may be great, having options is nice.

    If you are planning to buy camera adapters, you have to know that Camera lens adapters are usually quite basic, comprising of nothing more than a deliberately constructed ring that sits between your lens and your camera. One end is intended to accept a precise form of lens, and the other end is intended to fit the camera. Usually, there is no communications function to permit the lens to send data to the camera, so lenses with electronic chips, which notably control autofocus and auto aperture, will not work when the lens is mounted onto the camera adapter. You will have to focus the lens manually and physically stop down the aperture before shooting to get the correct aperture. The lens adapter will also disable EXIF data from getting to the camera as well via the same means.

    Some slightly more expensive adapters include a focus validation chip that allows the camera lens to signal when a subject is in focus, usually using a distinct beep or sometimes an icon displayed in the viewfinder itself.

    Regrettably, not every lens is adjustable to fit every camera system obviously. If you want to buy camera adapters you have to be aware that they are made for use with older lenses that have manual aperture, which must be attuned precisely by the operator. Many modern day cheaper lenses only have electronic aperture control instead in order to reduce cost to the customer, which means that the lens sadly cannot ever work on other cameras. The good news is that adapter producers have worked around this problem by counting on new a physical actuator for the lens aperture built into the adapter. You still have to physically set the aperture, but only by adjusting the adapter now, and not the lens itself.

    Since adapted lenses terminate many of your camera’s automatic features, they may slow down your overall workflow in the field, and consequently may not be suitable for certain uses, such as sporting events or wildlife photography which require a sharp mind and event sharper index fingers. However, landscapes, construction, and other subjects that don’t rely profoundly on autofocus are well-suited to camera lens adapters.

  • The blackmagic camera helps capture the action for the new Rush Hour TV series

    Cinematographer Christian Sebaldt, ASC, DP is using the Blackmagic PL-mount Cinema Cameras to capture action, stunt and car sections for the new Rush Hour TV show, which is a remake of the Rush Hour film licence. The series charts an L.A. cop teamed up with an investigator from Hong Kong.

    Blackmagic CameraSebaldt, who has filmed shows and films such as CSI, and Resident Evil: Apocalypse, swaps episodes with another DP, Marshall Adams, ASC on throughout the series.

    We shoot a bunch of up close action scenes – acts with the performers moving, fighting, getting thrown around and jumping on and off moving vehicles. So we need a good quality camera that can get us lively shots, but that also is undersized and light enough to be equipped in cars or close to the actors.” Every episode has fight arrangements and stunts and the Blackmagic camera is used in most of them.

    One of the fresh scenes filmed with the Blackmagic Camera was an extreme car action scene taking place inside a car park in Los Angeles. Numerous stuntmen, as well as the show’s lead performer, were flung into a nerve-wracking scene that involved one of the heroes jumping onto the bonnet of a moving vehicle with two bad guys trying their best to shake him off.

    The crew built a combination of hand-held rigs and also mounted the cameras to numerous points on the exterior of the cars. The cameras were really right on top of the actors, very close range. As they are so solid and yet compact, and very high quality, the camera crew were able to get right up close to the action. One particular scene took almost four hours to film and there’s no simple way for it to have been done with cameras which were bigger and heavier than the blackmagic camera. It would have been any other camera a lot longer to deem safe to work with and implement into the sequences, if at all.

    Beyond the fighting scenes, the rush hour DP also made use of the Blackmagic cameras frequently for interior car shooting, as well as with any takes done in very tight spaces where a bigger camera could never fit.

    “The Blackmagic camera gave us astonishing images, and our grips and rigging guys love that they can set them up wherever without getting in the way of the acting,” the DP added. “Based on our early camera tests and the use on the series, we now have the self-assurance to use the cameras where desired.”

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