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  • Discover our ultra HD 4K broadcast cameras

    Broadcast CamerasBT has recently launched Europe’s first initial Ultra HD 4K channel, and in August, it piloted its first live transmission in 4K of a Premier League match, which was Manchester United vs. Tottenham Hotspur at Old Trafford.

    4K is an expected next step in broadcasting, and audiences were blown away by the image superiority, which is four times that of HD. For its live productions, BT just acquired the first 12 Sony HDC-4300 4K broadcast cameras, as well as Fujinon 4K Ultra HD lenses.

    The new station from BT, went on air recently with a live broadcast of the FA Community Shield competition at Wembley, concerning Chelsea and Arsenal. Initial plans are to transmit one live event per week, and during the outstanding time, rebroadcast sports such as football, rugby and basketball that were shot in 4K during BT’s experimental phase. Other live occasions in the plans embrace UEFA Champions League, Premiership Rugby and MotoGP.

    The Ultra HD channel is obtainable through BT’s Entertainment Ultra HD package, which includes a 4K-capable 1TB set top box capable of handling it. To deliver 4K, BT is making use of IP broadcasting over its Infinity broadband system with HEVC compression to transport the extra image data.

    Like any new customer presentation, a rollout has obstacles to overcome and can take time. It also requires both an install base and the available content too.

    To see the content in 4K, customers will obviously need a 4K-capable UHDTV. The original models began distributing in 2012, and today all major TV manufacturers make these displays. With its Ultra HD package, BT is attempting to grow the install base by contributing a voucher for up to £500 off an LG UHDTV to its customer.

    On the matter of actual content, a few added European broadcasters might soon get on board with the service. For example, Sky UK and Sky Deutschland are at present testing 4K with the end result being the offering of UHD services.

    The Sony HDC-4300  camera puts you in total control of your content. For the first time, one camera platform is all you need to handle 4K, HD and super slow motion – helping you generate maximum returns on today’s production budgets, so the camera should be the least of your worries.

  • Why You Should Buy Professional Video Camera at 3D Broadcast

    Professional transmission class HD video cameras are 3D Broadcasts’ principal selling points, and where most of their discussions begin. 3D Broadcast supplies an extensive range of High Definition (HD) cameras from Sony, Panasonic, Canon, and more. These span from little Point-of-view cameras, ENG style cameras, large sensor video cameras, DSLRs and more.

    Buy Professional Video CameraSingle Chip Handheld Camcorders

    If you are new to the game or want a professional camcorder that are somewhat lightweight and easy to use, then these are the video cameras for you. Here you will find the most compact professional cameras which are ideal for corporate video, web-based video, swift broadcasting and travel.

    Three Chip Handheld Camcorders

    If you are seeking out a professional camera with full manual control, these are ideal for corporate video, and video documentary.

    Entry Level Large Sensor Camcorders

    If you are looking for a film-look on a tight budget, then these large sensor camcorders are perfect. Brilliant low-light sensitivity, highly manageable depth of field and the flexibility of switchable lenses make them perfect for short film making, commercial or story productions.

    Professional Large Sensor Camcorders

    Getting the filmic aspect for broadcast and projection has never been more reasonably priced. These cameras contains large sensors intended for broadcast, commercial, narrative production and film productions.

    DSLR

    DSLR cameras nowadays are valuable tools for both stills and video. Big sensors offer outstanding low-light sensitivity and highly controllable depth of field. Perfect for still photography, web video or as a B camera.

    Shoulder Mounted Camcorders

    For all-out comfort and steadiness the traditional shoulder-mounted Camera is ideal. These workhorses are suited to high-end business videos and broadcast creations.

    Point Of View Camcorders

    Most of these obviously need to be small, strong and solid. These cameras are perfect for getting the kind of shots ordinary professional cameras can’t, or won’t risk doing. Perfect for dangerous sports, dash cams, cyclists etc.

    4k Camcorders

    These cameras will log in 4K resolution, which is excellent for the modern high end TVs and video projectors which support Ultra HD which is four times the resolution of 1080p Here at 3D Broadcast we offer much more than just great prices, but we don't want price to be a reason you shop elsewhere. If you find one of our competitors has the same product at a cheaper price, we'll match it - even up to 7 days after purchase. All you need to do is make a note of the product number, its price and the competitor you want us to match. We will verify and match the price there and then for you. To benefit by phone, call +44(0)1753 653 555 or email sales@3dbroadcastsales.com.

  • SmallHD Firmware 2.0 Update for 500 Series Monitors

     Firmware 2.0 Update for 500 Series Monitors

    SmallHD-DotCom-Logo

     

     

     

     

    Small HD have released firmware update 2.0 for the 500 series monitors & sidefinder. Details and download links can be found here:
    http://www.smallhd.com/community/latest-firmware-update-for-the-smallhd-500-series-monitor-sidefinder?utm_source=Netsuite&utm_medium=Email&utm_campaign=500seriesfirmware2_0

  • Sony A7R II vs A7R – What Are the Differences?

    Sony has just announced a new flagship Alpha Series camera, the A7R II, but how does it differ from its predecessor? We’ve outlined some of the key differences between the A7R II and the A7R.

    Design
    At a glance, there are some obvious physical differences between the A7R II and the A7R. Firstly, there’s the repositioned shutter button that has been moved from the camera’s top plate to sit closer to where the user’s index finger is likely to fall.

    A7R_A7RII_Image_01

     

     

     

     

     

     

    The grip itself also looks ergonomically refined with a slightly more pronounced profile and a comfortable-looking contour for your supporting finger to rest on. The second notable difference is the finish of the camera. The magnesium-alloy body of the Sony A7R II appears to be sporting a speckled paint finish, giving it a tougher, more serious and professional look. The mode dial has been given a rugged makeover: it is now chunkier with a deep-knurled texture and features a locking mechanism.
    Overall, the new Sony A7R II, based on its looks alone, should handle more like a DSLR, but with the advantage of being more compact and portable.

    Specs
    The standout feature of the A7R II is its 42.4 MP backside-illuminated full-frame sensor, a world first. The Sony A7R grabbed headlines with its 36.4 MP sensor, so it’s impressive to see that statistic surpassed in such a short space of time. The Sony A7R II is the CSC world’s response to Canon’s EOS 5Ds and 5Ds R releases, and will make choosing between the two systems even tougher. Additionally, according to Sony, the backside-illuminated structure of the A7R II has a more efficient circuit design, which should see its sensor output data 3.5x faster than the original A7R.
    Borrowing the 5-axis image stabilisation from the Sony A7 II, the A7R II has a distinct edge over its predecessor, which has no IS built into it whatsoever. Both cameras carry similar native ISO sensitivity ranges, with the A7R capable of ISO 50 – 25,600 compared to the A7R II’s ISO 100 – 25600 (expandable to ISO 50 – 102,400). But, because of the inclusion of a sophisticated IS system, we’d expect the newer model to perform significantly better in low-light situations.

     
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    The A7R II’s 42.4 MP sensor uses a gapless on-chip lens design and has anti-reflective coating to increase light collection efficiency, which should help to combat noise
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    Now that Sony has incorporated a comprehensive hybrid focusing system in to the new A7R II, there appears to be a significant gap in class between the focusing capabilities of both cameras. The original A7R has a 25-point contrast-detection autofocus array, which is fast and accurate, but the newly announced A7R II has a hybrid system utilising 399 phase-detection points, as well as 25 contrast-detection points. The A7R II also uses an advanced motion-detection algorithm, enabling 5fps continuous shooting with tracking AF, improved from the A7R’s 4fps. Sony claims that the new A7R II should deliver a focusing response up to 40% faster than the original model.

    Video

     

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    The new Sony A7R II is capable of 4K video recording in-camera, where as the A7R is only capable of full HD video recording. Even the Sony A7S was only capable of 4K via a clean HDMI out feed to an external recorder, so the new camera adds a notable first to the Alpha line-up. There really isn’t much point in comparing like-for-like video capabilities when it comes to these cameras as the A7R II is in another league.

    Early Verdict
    On paper, Sony has done a great job building on what was already a fantastic camera in the Sony A7R. Comparing the two, the new model appears to be stronger in every critical area, from physical design to specifications and features. With its impressive resolution and professional-level video capabilities, the new Sony A7R II looks like it should be a solid all-round performer. We can’t wait to get our hands on one.

  • New broadcast lenses announced at Polecam’s booth

    Toshiba’s IK-4KH minicam alongside the new Fujinon TF4XA-1 prime HD lens will be amongst the equipment on display at Polecam’s booth at the Excel arena.

    Also on display will be the new Fujinon XT17SX4 with 17x zoom lens drive and control unit.

    The Antelope Pico high-speed, ultra-motion minicam with its dedicated FishFace underwater covering and new lens drive will likewise be revealed.

    Polecam have said that the Pico minicam is able to produce stunning ultra-slow-motion footage in high definition and up to 350fps too. It can also be mounted on a Polecam to give ultra-slow motion first person view shots above and below the water.

    Managing director Graeme Chapman stated: “With the range of exciting new large sensor video and DSLR cameras that can now be used on Polecam, as well as the great new HD and 4K minicams, you have a very exciting single-operator lightweight and easily transportable crane system that will add production value to any production.

    “Polecam’s success keeps on growing, with many owner operators now around the world.

    “We expect to see many of them turning up too, as most of our new features can be added as upgrades to earlier rigs.”

    Be sure to visit the rest of our site and see the gallery of Broadcast Lenses we have to offer.

    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 Broadcast lenses 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 for your broadcast lenses, at competitive prices and above all to offer you a pleasant and pleasurable experience when dealing with us and your equipment.

  • Blackmagic Camera 2.0 is available to download

    Blackmagic Camera 2.0 is available to download now from the Blackmagic Design web site at the following link;

    DOWNLOAD

    This software update adds new features to Blackmagic URSA cameras including recording ProRes 444 at 60 fps in Ultra HD and 80 fps in HD.

    What's new in Blackmagic Camera Utility 2.0

    Blackmagic URSA
    • Adds support for Apple ProRes 444 recording in 4K and HD
    Blackmagic Studio Camera 4K
    • Performance improvements for optical fiber output
    Blackmagic Studio Camera
    • Fixes an issue where the overlays settings are not remembered after turning off camera
    Blackmagic Pocket Cinema Camera
    • Fixes an issue where dropped frames are occurring during ProRes LT and Proxy recording
    Blackmagic Cinema Camera
    • Performance enhancements and improvements
    Blackmagic Production Camera 4K
    • No changes

     

    Minimum system requirements for Mac OS X
    • Mac OS X 10.10 Yosemite
    • Mac OS X 10.9 Mavericks or later
    • A suitable USB 2.0 port
    • Thunderbolt port for UltraScope and Media Express when using Blackmagic Cinema Camera or Blackmagic Production Camera 4K
    Minimum system requirements for Windows
    • Microsoft Windows 8 64-bit
    • Microsoft Windows 7 64-bit
    • A suitable USB 2.0 port
    • A suitable Thunderbolt port when using Blackmagic Cinema Camera or Blackmagic Production Camera 4K
    Installing Blackmagic Camera Utility
    Before installing the software, we recommend that you run "Uninstall Camera Utility" first.

    After loading the software on the Blackmagic Cinema Camera EF or MFT, you may notice a slight flickering on the built-in LCD screen. This is normal and expected behaviour. The flickering will go away after a few minutes of operation.

    The Blackmagic Camera Installer package installs:
    • Blackmagic Camera Utility
    • Blackmagic Media Express
    • Blackmagic UltraScope
    • Blackmagic Disk Speed Test
    Additional Information
    Some applications may use third party code under license. For details please refer to the included "Third Party Licenses.rtf" document.

  • Free firmware upgrade for Panasonic AJ-PX270 Camera‏

    Free firmware upgrade expands news and production applications for Panasonic AJ-PX270 P2HD handheld

    Panasonic has announced a free firmware upgrade for its popular AJ-PX270 P2HD handheld that incorporates a new codec (AVC-Intra Class200), full HD streaming and automatic content transfer, and new recording formats, all enhancing production and remote newsgathering.

    The addition of the high-quality AVC-Intra Class200 codec* (10bit, 4:2:2, bitrate approx 200Mbps) enables visually lossless recording at twice the bit rate of AVC-Intra Class100, delivering studio master quality for recording network-level programming and archiving.

    Rob Tarrant, European Product Manager at Panasonic said, “AVC-Intra Class200 is ideal for field capture of content for film-outs; the higher recording quality greatly enhances colour correction processes, as well as green screen and compositing applications. With the additional AVC-Intra Class200 recording, the PX270 delivers the highest quality recording available in a handheld professional camcorder.”

    Network functionality is also bolstered with newly-added streaming, facilitating full HD output (wired, wireless**, 4G/LTE network***) during recording****. The implication for news gathering is that a breaking news event can be streamed to a broadcast station while acquisition is in progress in the field.

    In addition, Panasonic has added the “Rec during Uploading” function to the AJ-PX270 to allow automatic transfer of recorded contents to an FTP server, which means that recording is possible even while video content is being uploaded.

    The firmware also supports a new iPad based P2 Remote Operation Panel (ROP) application, which enables wireless control of the PX270 camera settings (such as picture quality, zoom, focus and rec/stop operation) using an iPad. The P2 ROP App will be available free of charge at the Apple App Store.

    The firmware upgrade supplements the AJ-PX270’s already extensive recording formats with the addition of 1080/30p, 25p, 24p and native 1080 24PsF HD-SDI output, expanding production uses such as external recording and monitoring, as well as 720/30p, 25p, 24p, improving web production efficiencies. The upgrade also activates proxy editing on a web browser.

    These upgrades are available for downloading effective today at the Panasonic service support website, http://eww.pass.panasonic.co.jp/pro-av/support/content/download/EN/ep2main/soft/upgpx270_e.htm.

  • Panasonic DMC-GH4 Version 2.0 Firmware update

    GH4 Firmware Ver 2.0

    1. [4K PHOTO] mode is added which records 4K video exclusively for capturing a frame to save as a photo.
      • Settings can be adjusted as below when entering this mode.
        - Rec Format : MP4
        - Rec Quality : 4K 30p, 100Mbps (System Frequency 59.94Hz), 4K 25p, 100Mbps (System Frequency 50.00Hz)
        - Luminance Level:0-255
      • In addition to 16:9 aspect, 4:3 / 3:2 / 1:1 can be selected.
      • Exif information is embedded to the captured image from the 4K video.
      • Marking function is available enables marker setting on the designated point while recording video and users can jump to the markers when playing back the video to capture the frame they want.
      • Loop Recording function is added, with which the camera keeps on recording video while deleting the old footage automatically.
    2. 4K 23.98p, 100Mbps mode is added in MP4 video recording.
    3. The upper limit of the ISO sensitivity can be set in the menu of ISO sensitivity setting and emission amount of flash light can be adjusted in the menu of exposure compensation.
    4. Focusing performance of 1-area AF in video recording is improved.
    5. Tracking performance of tracking AF when used with the interchangeable lens H-FS14140 is improved.
    6. Remote shooting via USB tethering is available by using PC software "USB Tether" supplied by Promote Systems.

    *For more information on Promote Systems, please visit http://www.promotesystems.com

    Ver 1.1

    • Improvement of stability for REC/PAUSE operation

    Click here for the latest Firmware and Software

  • Sony CineAlta Firmware updates

    Version 5 firmware is now available to download on the Sony PMW-F5 and PMW-F55 product pages!

    Download here now

  • Should you Hire or Buy your Broadcasting Equipment?

    If you need professional broadcasting equipment for your filming project then you have a few choices to make before filming can begin. Firstly, you need to decide what sort of broadcasting equipment you need to complete the job to the highest standard your budget will allow. So you need to consider the type of camera, sound equipment, lighting kits, mixers, batteries, microphones, camera supports and software that will be suitable. This will largely depend on the scale of the project and whether it is studio based or needs to be mobile.

    Once you have put together the right kit list of broadcasting equipment (and seek professional help with this step if you are unsure), you need to source the items. And the biggest decision at this stage will be whether you are going to buy the equipment or hire it. Most broadcasting equipment suppliers will offer the choice to buy or hire and there will also usually be the option to purchase second hand or reconditioned items at a fraction of their original price.

    Benefits of hiring broadcasting equipment

    If you only need the gear for a one off project, or this is your first time filming, then it may be more sensible to consider hiring. Maybe you have a promotional video to film for your company or are looking to strengthen your online presence with video content. In these cases, hiring can be a great way to get to grips with professional broadcasting equipment and deciding whether it would be a worthwhile investment to buy for future projects.

    It is worth noting, however, that many broadcasting equipment suppliers will only hire out cameras to companies or businesses. So if you are an individual freelancer, purchasing may be a more sensible option.

    Advantages of buying

    But if you are looking for a more long term investment, maybe for a media company that produces a lot of online content, a broadcasting organization or for a film and media department at a school or college, then it will usually make more financial sense to buy the majority of your broadcasting equipment. You could then always hire extra items that are only needed occasionally or add to your kit by purchasing more items over time and when budgets permit.

    When you buy your broadcasting equipment you are not subject to any rental time limits, late penalties, or the hassle of returning kit to the supplier.  You can use it how you like and when you like and suppliers can deliver quickly and directly to you. Finance options are also available to help spread out the costs.

    One word of advice though, especially if you are thinking of purchasing a lot of broadcasting equipment, is to ensure you have people who are trained to use the kit. This will ensure the very best results.

    But whether you decide to buy or rent your broadcasting equipment, if you are unsure what kit you need, always speak to an expert supplier for guidance first.

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