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  • 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.

  • 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 new broadcast camera and broadcast lenses at the Fujifilm 4K day event

    Broadcast CameraCamera lens manufacturer Fujifilm is hosting a 4K Day event partly in an attempt to platform their 4K IS Mini and newest Zoom lenses at the DMPC in California. The event will include guest speakers during the day and also offer opportunities for visitors and camera enthusiasts to try out Fujinon’s newest equipment up close.

    The lenses will be combined together with Sony 4K cameras such as the F55, F65, FS7 and Sony’s newest, the HDC-4300- one of the firm’s true 4K broadcast camera. Attendees to the occasion will also be able to watch live video material and images from the Fuji lenses paired to these Sony cameras, displayed onto the event’s 25 ft. projection screen through the use of Sony’s own modern 4k ultra HD projection equipment.

    Once more, Fujinon will be using their 4K event to showcase their variety of lenses and some of the models that will be on show consist of the Fujinon UA80x9BESM (9 – 720mm) 4K Transmission 80x zoom lens on a Sony HDC-4300 4K broadcast workhorse studio camera, the Fujinon UA22x8BERD (8 – 176mm) 4K ENG 22x zoom lens on the same Sony camera and the Fujinon ZK12x25 (25 – 300mm)  4K PL 12x zoom lens mounted onto a Sony F55 4K broadcast studio camera. In addition to these weighty shooters and lenses, there will also be 7 other 4K Fuji lenses revealed during the course of the day with Cine PL and Broadcast B4 mounts.

    Fujifilm will also be making use of the DMPC event to showcase its IS-mini HDMI 4K and IS-Mini RACK 4K goods. In this way, Fuji is increasing its product line further with accompaniments like a new version of the IS-mini Manager and the two pieces of hardware mentioned above.

    Finally, product experts from Fuji and Sony will also be around at the experience to deliberate the technologies and Fuji’s method of generating ACES colour management workflows from the initial level up to concluding delivery of finished video.

    Here at 3D Broadcast we sell and rent out a huge range of broadcast cameras, including those from Fujifilm, with lenses from Sony too, so you can get one of these perfect setups and kits straight from us.

    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.

  • Fujifilm to unveil an 80x broadcast Zoom Lens for Use with 4K Cameras.

    The market needs for 4K video contents are surging amidst a 7-fold year-on-year increase in the shipment of 4K-compatible television sets to approximately 11.6 million units last year and the launch of a dedicated 4K channel in Japan in March this year. Fujifilm's line up of cine lenses has included the HK Series, which offers optical performance approximating to 8K systems, and ZK Series, which combines 4K optical performance and electric drive units. With solid reputation not only from the film industry, but also from broadcasters producing 4K contents, lenses in both “HK” and “ZK” series are frequently used in test 4K broadcasts for international sporting events. However, the broadcasting industry generally uses cameras equipped with a 2/3-inch sensor including 4K cameras with the same sensor size, and is therefore seeking compatible broadcast lenses that deliver advanced optical performance.

    UA80x9, is a broadcast zoom lens compatible with 4K cameras. Using the cutting-edge optical simulation technology, the lens achieves an impressive 80x zoom as well as advanced optical performance such as high image resolution, contrast and colour reproduction. Covering the focal length from 9mm in wide angle to 720mm in telephoto, the lens features a unique “optical stabilization mechanism” that provides optimum adjustment to image shakes caused by vibrations and wind, making it an excellent choice in live coverage of sporting events and concerts. The “floating focus system”, which controls multiple lens groups according to the shooting distance, delivers high-resolution and high-contrast images from close-up to infinity, enabling 4K video production with a high realistic sensation and premium picture quality. With the demand for accurate focusing needed for 4K resolution, Fujinon's new focus position demand unit, the EPD-31A, has improved from 12 bit to 16bit encoding.

    FUJINON lenses by Fujifilm are known for advanced descriptive performance, contributing to the evolution of video imaging through their use in the production of TV programs, movies and commercials across the world. Fujifilm will continue to tap into its optical, high precision forming and assembling technologies that have been nurtured over many years to develop and supply innovative products that address the diversifying needs of broadcasting production.

    The broadcast lens will be unveiled at NAB 2015, which is a trade show of broadcasting equipment to be held in Las Vegas.

  • Lens Adapters for the Best Possible Image Quality

    If you are like most other photographers, there is a particular brand of camera that you prefer to use. But there are times when you need to use a different type or brand of lens with your favourite camera to make it more flexible.

    Photographers can buy camera adapters to open their world to an array of visual alternatives. With lens adapters, you can use a variety of amazing alternative lenses, from some truly advanced optics to classics that yield more dynamic frames.

    How Do Adapters Work?

    Adapters are essentially low-tech devices. They are machined rings that fit between your lens and camera. One of its ends is designed to connect with a specific type or brand of lens, and the other is designed to fit your camera. There is usually no communication bridge for the lens to transfer data to the camera, or vice versa. This means that electronic lens features, namely auto aperture and auto-focus, will not work once you mount the lens on the adapter, leaving you to focus manually and stop down the aperture physically before shooting.

    That said, not every lens is adaptable to every type of camera system. In fact, most adapters are designed for use with older lenses that come with manual aperture rings, which require the user to adjust. Many lenses used today, such as the Nikon 14-24mm, come with electronic aperture control that does not work on other camera systems. Fortunately, adapter manufacturers have addressed this drawback by including a physical actuator that works with the lens aperture built into the adapter. However, you will still have to set the aperture manually by adjusting the adapter instead of the lens.

    Properties of Camera Lens Adapters

    Since adapted lenses make your camera’s auto features redundant, they tend to slow down your photography, which makes them unsuitable for certain applications. However, applications that do not rely heavily on auto-focus, like architecture, landscapes, and other subjects can make use of adapted lenses. Some of the reasons why you may consider buying camera adapters include:

    1. Cost. Adapted lenses tend to be more affordable compared to their unadapted counterparts, with considerable differences in some cases. Those that are out of production can still be found on the used market for a practical price.

    2. Quality. While you have your reasons for choosing your camera brand over the others, you should be open to the idea that other brands may have better lenses than your preferred camera manufacturer. In fact, there are many superior alternative lenses that do not even compare to unadapted optics.

    3. System switch. If you choose to change your camera system within the same brand, or switch to a different manufacturer, but want to keep using your inventory of lenses from your previous system, you will need an adapter.

    When you decide to buy camera adapters, it is important that you invest wisely. In most cases, you have to spend extra money to get high quality adapters and ensure that you get the photographs you want. The best adapters do not feature any glass elements, since glass tends to reduce the performance of the lens, resulting in low quality images. High quality adapters are precision-made from metal (anodised or chrome-plated steel), not plastic.

  • Canon have announced a new EF100-400mm f/4.5-5.6L IS II USM Lens

    canon lens

    A favourite focal length range among wildlife, sports and action photographers, the new EF100-400mm f/4.5-5.6L IS II USM super-telephoto zoom offers exceptional autofocus ability coupled with stunning sharpness thanks to a new optical construction plus the use of new lens coating technology.

    The EF100-400mm f/4.5-5.6L IS II USM is a compact yet powerful telephoto zoom ideal for covering wildlife, sport and action in even the most challenging environments. Featuring advanced optical engineering, a new 4-stop Image Stabilizer and excellent weather-sealing, it offers stunning image quality in a body that has been designed with ease-of-use in mind. When used on cameras featuring APS-C sized sensors, the EF100-400mm f/4.5-5.6L IS II USM offers angles of view equivalent to a 160-640mm on a full-frame camera.

    Redesigned optical system delivers new levels of image quality. New multi-layered Air Sphere Coating (ASC) prevents flare and ghosting.
    Optical Image Stabilizer provides up to 4-stop benefit, including three IS operation modes.
    Zoom Touch Adjustment ring allows the resistance of the zoom control to be customised to your style of shooting.
    Focus quickly, accurately and in near silence. Full-time manual focus override allows precise fine adjustment.
    Weather sealed against dust and moisture, for use under harsh conditions.
    Ring USM drive, high-speed CPU and optimised AF algorithms to provide quiet and fast autofocus.
    A Fluorine coating on lens surfaces reduces dirt clinging to the lens elements and prevents smearing.

  • Chrosziel & Metabones lens mount adapters – A comparison

    The decision to buy lens mount adapters is usually motivated by the desire to use a lens on a camera for which it was not initially designed for. No particular brand can claim to have an exclusively “superlative” set of lenses. There exists a few standout or unique lenses in any line of lenses, and the ability to use such lenses on your specific camera brand allows you to attain the best possible result. Besides seeking exceptional images through a unique lens combination, lens adaptors can also be used to make good use of lenses that were acquired earlier; lenses that would otherwise remain unused. Continue reading

  • Canon CN7x17 KAS S: Cinematic lens technology now handheld for increased flexiblity

    Canon CN7x17 KAS S Camera LensCanon has recently launched its first servo lens that can be held by hand, mounted on your shoulder or on a tripod, and allows the creation of cinematic images regardless of how you shoot. The Canon CN7x17 KAS S is a highly impressive lens that is perfect for shooting scenes where movement is essential to the composition. So, if you're looking for the must buy camera lens that's versatile and highly impressive, look no further than the Canon CN7x17 KAS S.

    Canon CN7x17 KAS S: Features

    The Canon CN7x17 KAS S offers amazing 4K optical performance due to Canon lens technology and has been designed for Super35mm cameras. The servo drive unit allows for both hand-held and broadcast production, while the lens is effective for most situations as it's highly versatile with its 17mm-120mm focal length. Continue reading

  • Six of the Best! Samyang Camera Lenses

    samyang 6Samyang Camera Lenses are some of the most intelligently designed camera pieces in the market today. They are made to market and come with a rare sophistication that makes them a perfect fit in today’s complex photography environment. They have a superb performance that enables both professional and enthusiast movie and video making.

    There is a variety of Samyang Camera Lenses out there in the market. These lenses are designed to match the various demands and preferences of end users. They all have an excellent focus system that leaves no detail to chance during video and movie shooting. Below are some of the Samyang Camera Lenses that form a great pick when you are looking to buy a new camera lens. Continue reading

  • Technology in the right hands, with the right ideas

    Fujinon CabrioYou only have to look to the humble origins of the ‘Paranormal Activity’ series to see how with a small budget, a unique concept and the right technology; a director or producer can create something unforgettable, which captures the mind of its audience. The original film which was the brainchild of director/producer Oren Peli was shot using nothing more than home video production equipment and a professional camera lens, over a compact 7 day schedule, with much of the cinematography completed by Peli himself and actor Micha Sloat.

    Paramount Pictures was so impressed with this low budget independent film, that it re-released it under their label in 2009 and it became an overnight international sensation, cashing in a cool $193 million at the box office. This demonstrates the sheer power which the right camera equipment and high spec professional camera lens can propel a creative idea into something phenomenal. Continue reading

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