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Broadcast Equipment Blog | 3D Broadcast Sales

  • Will the new professional cameras be pocket-sized devices?

    This new strange looking camera is a whole new take on taking professional quality images.

    Professional Cameras

    You’ll probably never see professional cameras that looks like this. Its flat black appearance is like the face of some those insects from a David Attenborough documentary. It’s called the Light L16, and it may not look the part as a photographic tool, but it plans to achieve the impossible, which is professional quality in an (nearly) pocket-sized device.

    With most cameras, in order to increase image superiority, you have to also increase the size of the digital sensor. The best professional cameras have the largest sensors, approximately the size of a 35mm film frame. The tricky thing is that large sensors are very costly. Furthermore, they require huge lenses too, which make for very large and heavy professional cameras.

    The Light L16 works in an unusual way. Inspired by the slight and cheap smartphone sensors we all have in our pockets, the device includes 16 completely separate sensor and lens modules. They each take separate images at various different focal lengths, and are joined together to create one big image consisting of 52 megapixels. The lenses range from 35-150mm in focal length.

    The team behind the bug eyed camera are claiming that in addition to resolution, the camera performs astonishingly in low light, and yields detail that is even sharper than professional DSLRs. While it’s unfeasible to draw any deductions from an incomplete set of pre-picked photos, impressions seem to be that image quality is certainly tremendous.

    Image quality is only part of the package though. With so much info being picked up by multiple lenses, Light L16 gives you the choice of controlling depth of field after you capture your photo. A touchscreen on the back of the camera will let you pick what parts of your image are in focus, in a similar fashion to the witchcraft technology of the Lytro camera from a while ago now.

    Photographers are particular about their workflow though. It has to be fast, and it has to be supple. If a device like the L16 restricts the way you can capture images, whether because of limitations in shutter speed, processing period, or output setup, it will be a hard sell for individuals accustomed to their traditional workflows.

    It’s incredibly cool to see people reinvent a gadget that has remained unusually static for so many long years though. This fascinating piece of kit will no doubt be one of many such efforts to ever change our idea of photography.

  • Panasonic announces 4K large-sensor handheld camcorder

    Panasonic has publicised that its new AG-DVX200PJ 4K large-sensor, 4/3-inch handheld camcorder will commence deliveries in October/ November of this year, with an RRP of just over £3,000. This is the first of Panasonic’s new wave of large sensor, multi-format professional handheld camcorders which are capable of capturing 4K/UHD, HD and SD.

    Handheld Camcorders

    Contributing a range of features that contain 4K/24p and 1080/60p footage, a V-Log L gamma curve and included 13x optical zoom lens, the DVX200PJ will shine in documentary, reality television and event production, and offer a reasonably priced second-unit camera in 4K film cinematography too.

    The handheld 4K camcorder gives you an array of expert features including a newly made Leica Dicomar 4K f 2.8/4.5 zoom lens with shallow depth-of-field, time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outs (4:2:2 10-bit video), dual XLR audio ports and 10 customisable user buttons.

    The handheld camcorder will record 4K (4096 x 2160)/24p, UHD (3840 x 2160)/HD (1920x 1080) 59.94p/50p/30p/25p/23.98p in both MP4 or MOV formats too. With two SD card slots, the camcorder enables relay, concurrent, background and dual codec recording. Dual codec recording permits real-time capture of UHD 30p and FHD, or FHD and FHD low bit rates, which basically yields master and offline/proxy versions of the footage.

    The new Leica Dicomar 4K zoom lens with an f 2.8 aperture is an ideal choice for 4K video, with the capacity to produce brilliant imagery and subtle bokeh too. Leica’s lens is intended to keep the amount of ghosting and flare to a minimum. Since the DVX200PJ is an incorporated lens camcorder, there is no need to do flange back adjustments or shading alterations when shifting lenses. The camcorder will work in flexible shooting uses that necessitate mounting on today’s prevalent steadied camera rigs too.

    The camcorder includes an improved Optical Image Stabilizer with a five-axis hybrid Image Stabilizer and 4x expansion of the correction accurateness, producing clear images without distorting. The Intelligent Auto Focus system features a new micro-drive focus unit that increases focus speed, tracking and capture function, and enables smooth, fast focus tracking for 4K video and shallow depth-of-field. The Intelligent AF system, with touch area selection, can be modified for speed, sensitivity and object scope.

    Three manual operation lens rings which control the zoom, focus, and iris, provide a comfortable manual control comparable to an interchangeable lens camera, but minus the need for actual lens changes. The zoom ring’s solid feel and smooth stroke allow subtle, slow zooming. In addition, the camcorder’s multi-step zoom controller delivers fast response and smooth zoom action. The zoom controller on the handle allows adjustable speed zoom, allowing fine zoom control even for low angle shots.

    The DVX200PJ works straight out of the box its integrated lens, viewfinder and included battery, the only thing it needs is the optional SD cards.

  • Tips on how to buy a cinematic camera and camera equipment

    Persistence of the Fittest There’s a huge gap between the work the vast bulk of us do to pay the rent, and the work of those cinematographers in Hollywood that motivate us so much to do what we love doing. This difference is a multifaceted combination of knowledge, experience, imagination, industry contacts, and also equipment advancement. When it comes to determining where to invest when you need to buy cinematic camera equipment, it’s vital to see beyond the glossy box and technical feats inside. It’s not enough to place your confidence innocently in the realms of public opinion either. Buy Cinematic Camera Not all professional cameras are created equal. The fact is, these camera producers are making tools for us to use, so our labour, and our needs define the setting that determines their destiny. Those best equipped to survive in the cinematic environment are more likely to endure and evolve. Beyond remaining, those who show true improvement can flourish, and in fact exert their own force on the industry itself. Workflow If you are planning to buy cinematic camera equipment, you have to consider that a camera cannot be measured alone, it’s part of a larger picture that wields influence over, and is at times restricted by post production methods, and so post workflow must also be taken into consideration. Makers who recognise, and accept this fact are by this time, one step a step ahead of the competition. So who’s at the head of the pack? Quite often the solution is apparent, what are the main TV shows and films being shot with? The response is Arri and Red, and to a certain degree 35mm film is still sustaining a spot at the top. 4K and elsewhere. The age of 4K and beyond has well and truly landed. It’s been coming very slowly but surely for many years now. Even if you are still providing HD 1080p footage, it could be argued that your new purchase should be 4K at least, and there are feasible options that fit all but the lowest budgets. RAW While RAW is surely not needed for every job, it’s something you would want at your disposal. Once more, money is not a reason for buying a camera that doesn’t have RAW functionality, or at least accommodate RAW in an external recorder. There are no one-size fits all answers. We all have diverse needs, and it’s a blessing actually, that no two cameras are the same. Each has exclusive pros and cons, but the significant thing is that it’s not just about what’s hot right now. The next time you find yourself carelessly comparing specs, or being converted by opinion on camera forums, try to keep in mind a clear depiction of where the tools are headed, and which manufacturers are truly, decently innovating, moving in a forward course to bring you better tools in the long term.

  • Panasonic offers the best stress-free broadcasting equipment for any application

    Adapt broadcasting equipment such as the capable HPX255 camcorder into an ergonomic, studio adjusted system camera, centrally operated in the gallery with repeated communication. This bundle includes the core basics to upgrade a reasonably priced hand-held HD camcorder for use as a traditional, committed studio system.

    Broadcasting Equipment

    The NiPros arrangement is a cost-effective means to obtaining and assimilating studio cameras without the old-fashioned expense. Based around the 10-bit HPX255, the camcorder controls will be recognisable to the crew but the ergonomics are all original. With a large viewfinder and a more considerable feel, delivering smooth panning images and operating the system for lengthy periods becomes significantly easier.

    This is a handheld camcorder built by Panasonic that has numerous high performance features and is very cutting-edge. Ideal for broadcasting, there is a high sensitivity 1/3” 2.2 MP 3-MOS image sensor that utilises Ultra Luminance Technology (ULT) and an AVC-Intra codec which allows very robust quality recording of images. Weighing just under 2.5 kg, this camcorder has a 22x zoom lens for a wide 28mm to 616m with 3 separate and adjustable rings for the zoom, focus, and iris respectively.

    There is a remote terminal which is no doubt an excellent add-on to this broadcasting equipment. It makes the camcorder compatible with Panasonic’s AG-EC4 Paint Box remote control and will permit control of nearly every menu option, set-up control, and gamma function. This comprises control of shutter, iris, gain, filter points, and detail. This non-compulsory remote also comes with a 10 metre cable which will send the menu to an external monitor. It also combines with Genlock input, TC input and output, and HD SDI output to allow for multi-camera action with camera control.

    This camcorder has Optical Image Stabilization that preserves the picture’s steadiness when shooting without a tripod or other stabilisation equipment. Furthermore, it’s pleasing to see progressive focusing utilities like Focus in Red and Expand. With an adjustable frame rate from 1 to 30 fps (in 1080p) you’re able to control performance to a point that comes close to shoulder-type P2 models.

    Panasonic has been circulating a number of professional standard broadcasting equipment such as camcorders that are stress-free to use and perfect for many applications - this model is no exception. Useful for any form of image production as well as broadcasting, there is an overabundance of features that will enable you to modify the captured image. With its low power consumption, this is an outstanding piece of broadcasting equipment.

  • Blackmagic ATEM 6.6 Upgrade

    Tech Bulletin ATEM 6.6

    ATEM 6.6 is available to download now from the Blackmagic Design website at the following link;


    This update adds support for Visca compatible PTZ remote control cameras to ATEM hardware control panels and ATEM switchers that have RS-422. You also get enhanced customized labels, and support for native Chinese and Japanese user interfaces.

    What's new in ATEM 6.6
    • Added localization support, can currently support English, Simplified Chinese and Japanese. Users can select their language in preferences. As part of localization support, all source names are now customizable.
    • PTZ (Pan Tilt Zoom) camera control: Controlled by the joystick on both the ATEM 1 M/E Broadcast Panel and ATEM 2 M/E Broadcast Panel.
    • Enhanced chroma key on all 4K Switchers
    • General performance and stability updates
    Minimum System Requirements for Mac OS X
    • Mac OS X 10.10 Yosemite or later
    • Mac OS X 10.9 Mavericks or later
    • Display resolution of at least 1366 by 768 or larger
    • A suitable USB 2.0 port for software updates
    • An Ethernet connection for switcher control
    Minimum System Requirements for Windows
    • Microsoft Windows 10 64-bit
    • Microsoft Windows 8 64-bit
    • A suitable USB 2.0 port for software updates
    • An Ethernet connection for switcher control
    Installing ATEM Software
    Before installing the software, we recommend that you run
    "Uninstall ATEM" first.
    The ATEM installer package installs:
    • ATEM Software Control
    • ATEM Setup Utility
    • Blackmagic Media Express
    Please update the internal software in your ATEM Switcher and ATEM Broadcast Panel after installing this software. Simply connect the ATEM Switcher with a USB cable and run the included ATEM Setup Utility software. Then repeat for the ATEM Broadcast Panel. After this update, check your switcher chassis IP address in the ATEM Setup Utility.

    Additional Information
    Please check for additional information on third party software compatibility and minimum system requirements.
    Some applications may use third party code under license. For details please refer to the included "Third Party Licenses.rtf" document.
    © 2015 Blackmagic Design Pty. Ltd. All rights reserved. Blackmagic Design, Blackmagic, DeckLink, Multibridge, HDLink, Videohub, and "Leading the creative video revolution" are trademarks of Blackmagic Design Pty. Ltd., registered in the U.S.A and other countries.

  • How audio broadcast equipment is evolving to deliver 3D sound

    Original 3D audio, for broadcast needs, lets you get sound from everywhere, and no it’s not surround sound as you know it.

    The International Telecommunication Union has decided upon a new standard for audio broadcast equipment that's planned to sit together with Ultra HD video. If the name by itself doesn't get you eager for yet one more standard that'll take years to really come into practice, then check out its even more shaky description: a "long-form file format for the international exchange of audio programme materials with metadata."

    The new standard is basically a 3D sound arrangement intended to deliver audio above and below listeners, as well as around them like in current surround system equipment does. It's built on the current RIFF and WAV file formats, which have been altered so that a solitary file can transmit a complete audio plan containing audio samples as well as metadata for any mixture of object, channel and scene-based sound.

    Audio Broadcast Equipment

    There's also the potential of users being able to customise their experience by altering individual intensities of 3D sound in their living rooms. The ITU says audiophiles will have something called "object based coding" to express their thanks to, which seems like something that may be too demanding for broadcast to actually implement with it’s current equipment. Still, if they do, the ITU is assuring that language choices, dialogue levels, and other pieces of a programme can be attuned, potentially being of benefit to those with hearing problems, too.

    Dolby Atmos uses object-based sound as well, and necessitates distinctive and quite costly audio broadcast equipment to process the object coding into an arrangement that can truly be interpreted by your usual channel-based speakers.

    The new audio broadcast equipment should be backwards compatible with older equipment and formats, thanks to flags that emphasise more common stereo audio. That said, there's a big cost to this 3D sound glory. The current 4GB file limit from the older specification has been lifted in order to pack all that new data in, and wrapped in a new-fangled WAV-based 64-bit arrangement called BW64. Given that broadcasters are unenthusiastic to move to 4K video, mostly due to due to bandwidth concerns, don't expect to be treating your ears to the bandwidth-heavy treat of 3D audio any time soon. At least not in most places.

  • Discover the new Canon's professional camera sensor.

    Canon's latest professional camera sensor is ridiculously strong.

    How powerful you ask? Well according to the Japanese professional camera company, "when fitted into our camera equipment, the recently developed sensor was able to capture images allowing the differentiating of lettering on the side of a plane flying at a distance of roughly 18 km away."

    Professional Camera Equipment

    On Monday, Canon announced its latest camera sensor. It clocks in at an astounding 250 megapixels, which is five times higher than its next most powerful sensor.

    That's the 50.6 megapixel one found in the EOS 5DS; the 250 megapixel sensor is also smaller in size than the one in the 5DS camera.

    The new sensor, which is APS-H size (29.2 by 20.2 millimetre), is also capable of shooting video at five frames per second. The company say its resolution is 125 times that of Full HD, and 30 times that of 4K video.

    The resolution of uncropped photos shot on the sensor is 19,580 by 12,600 pixels. For reference, the resolution of the iPhone 6's 8 megapixel camera is 3,264 by 2,448 pixels.

    When discussing cameras, especially professional ones, it's important to note that megapixels aren't everything. There are numerous other factors at play that determine image quality, from the size of the sensor to the quality of the lens in front of it, and the on-board software for processing the raw data. It's why modern smartphone cameras will be significantly worse than professional DSLR cameras from a few years ago, despite having a higher megapixel count.

    Canon produces world-class professional camera equipment, hardware and lens glass, however: While the company hasn't provided any example shots, the images the sensor captures are likely to be very, very high quality.

    It doesn't look like Canon intends to use the sensor in consumer camera equipment. In a statement, the company said it is "considering the application of this technology in specialized surveillance and crime prevention tools, ultra-high-resolution measuring instruments and other industrial equipment, and the field of visual expression."

  • Buy professional camera bags: Find out the new ‘on the go’ bags from camRade

    Though only unveiled this year, camRade has drawn-out its range of ‘on the go’ bags to embrace a new compact bag and medium and large backpacks. These bags offer protection, lightweight design, and simple access to a fully put together camera. Buy Professional Camera The camera bags are made of 1000 denier black Cordura material with double YKK zips that open the top flap in one stress-free pull, unveiling sections for the camera, accessories, batteries, chargers, cables and tools. It has also added to its variety of protection covers with new body protectors and rain covers with wetSuits for the Canon EOS C300 MkII, JVC GY-HM170/200 and GY-LS300, the Panasonic Varicam 35/HS, and the Arri Alexa Mini, and finally a camSuit being for the Sony PXW-X320. camRade offers a wide selection of camera bags for all kinds of professional AV gear. Thanks to the shrewd designs and use of complex materials and solid stitching, every camRade bag provides your professional camera and equipment with a maximum of shelter and gives you the handiness you need when on the move. The camRade assortment of professional bags and other protective equipment is expanding all the time, since suitable camRade bags are repeatedly being established for newly released hardware. The range will be complemeneted by clever add-ons such as added sections and protective interiors. 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 and Paul Raeburn 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 when you buy whatever you require for your professional camera equipment or if you need to buy professional camera bags. 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 professional equipment from other 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 you buy from 3D Broadcast.

  • Buy professional camera: the cinematography camera area gets jam-packed in 2015

    This year has seen a surplus of professional camera brands and models thrive and this has produced increased pressure on prices, a huge advantage to cinematographers and a trial to manufacturers. The gravity of the situation which has been building for several years began to intensify at NAB with the arrival of nearly 12 new models, a number of them getting down into some of the lower most prices on record for professional cameras in the league. Buy Professional Camera This tendency has resulted in a growth of ownership in the low-end of the camera marketplace and a subsequent belt tightening at the top end. It has consequently created a race to the bottom between companies. You would wonder, who would want to win that race? Seemingly, the answer is quite a few companies. Chiefly led by Blackmagic Design, whose camera costs have been astoundingly low, others comprising JVC and AJA have been advocating 4K ‘cine’ competent cameras at price below $5000 in the American market. One outcome of the descent in camera and camcorder prices has been the stress on DSLRs too. This whole tendency of lower and lower prices has satisfied many that now want to buy a professional camera users, particularly independent film makers and students gathering equipment together, now being able to do so relatively cheaply too. Rent habits don’t change as fast however, as data establishes that cinematography professionals still employ rentals, constantly in cameras and even more for lenses, as they are very expensive to own. The average renter said that they rented at least 25 times a year. To support this opinion, manufacturers have pulverized rental houses by flooding them with cameras, lenses and other accessories of use to renters. The acquisition of cine lenses has been helped slightly by the progression of digital cinematography, but that has mainly been amongst independents and rental houses. When independent film makers buy a camera they often get one lens at least. However, it’s common that that lens is part of a package. Extra lenses can claim for considerable out of pocket expenses and that has often to a reliance on rentals as lenses are obligatory for specific things being made. Another development in lenses has been a move away from exclusively using prime or fixed lenses and the escalation of the use of zooms, which were previously only seen in news or broad video creation and seldom, if ever, in motion picture creation.

  • Find out the latest broadcast equipment presented at the International Broadcasting Convention

    Four distinguishing audio environments full of broadcast equipment awaited visitors at the Sennheiser and Neumann booths at the International Broadcasting Convention in Wedemark, Germany. Guests can experience ‘ENG world’ where Sennheiser will showcase a brand new wireless product, a distinctive radio station environment, a TV broadcast studio and a devoted sports broadcasting set-up. All are displays that together provide a comprehensive overview of the two audio companies’ tailor-made answers to many peoples niggles with current equipment.

    Electronic News Gathering

    ENG world will show the full range of archetypal electronic newsgathering conditions, from high-end broadcasting teams to small and minor video crews.

    Broadcast Equipment For skilled broadcasting teams, wireless microphone equipment for camera use from Sennheiser’s 5000, 3000 and 2000 series will be on display too.

    Smaller production crews will find Sennheiser’s AVX digital wireless equipment a perfect choice. Launched previously this year at NAB, the new schemes have convinced users around the world with their outstandingly compact plug-in receiver, excellent ease of use and fast set-up.

    For mobile broadcasting and journalism, Sennheiser will platform its most convenient ENG audio equipment: the ClipMic digital and MKE 2 digital clip-on mics which join directly to almost all Apple devices, transforming them into an ENG device that is always at hand. The clip-on mics were established in cooperation with Apogee Electronics.

    Radio Station

    A typical radio station arrangement aids in demonstrating Neumann’s most effective microphones for this setting with the BCM 104, TLM 102 and the TLM 107. Sennheiser HD 26 Pro and HD 650 headphones and Neumann KH 120 monitor speakers as well as a Neumann KH 810 subwoofer complete the recreation of the studio.

    TV Broadcast Studio

    The classic TV talkshow ‘studio’ and control room serve to highlight the highest-quality Sennheiser and Neumann broadcast equipment, from Digital 9000, Sennheiser’s definitive digital wireless system, to Neumann KH 310 monitor loudspeakers. Also on show are wired mics for use in the studio, such as the table-top Sennheiser MKH 8050 and ME 36 models in addition to the Neumann KM 185, and Sennheiser broadcast headphones. For broadcasters, the studio environment features the classic MKE 40 clip-on mic and the new Headmic 1.

    Sports Broadcasting

    Sports broadcasting is an area that drives many innovations in the broadcasting segment, therefore it is given a special focus here. The highlight here was Esfera, which is Sennheiser’s surround sound system which generates a fully-fledged 5.1 sound from a two-channel signal. Attached onto a camera or wired into a stadium, the compact Esfera mic can be worked just like any tough stereo microphone, whose sound can then be transformed into 5.1 at any point in the workflow. The structure is very much analogous to the human ears and brain. It ‘hears’ via two microphones, and its separate handling unit turns the mic’s sound into a surround sound, in the same way the brain does with the sounds we hear.

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