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  • 10 Killer Camera Hacks For Fantastic Pictures

    Get comfy with close-ups

    If you feel like your pictures don’t have any pop to them, take a step or two towards your subject. Fill up the frame with your subject and see how superior your photo will look with less space wasted. Getting closer to your subject also reveals their facial expressions more too, which can tell a story.

    Professional Camera

    Capture something every day

    The greatest way to improve your skills is to practice. So shoot as often as you can, it doesn’t really matter what the subject is either. As your technical skills progress over time, your ability to tell decent stories with them will increase too. Don’t worry so much about creating a shooting style too early on either as it’ll emerge by itself in time and it’ll be much more authentic too.

    Use your available light effectively

    Before you put the camera up to your eye, firstly see where the light is originating, and use it to your advantage. How can you use it to make your photos better? How is the light engaging with the scene and the subject? Is it emphasising an area or casting thought-provoking shadows? These are all things you can exploit to make an ordinary photo astonishing.


    There are a few questions to ask yourself when deciding what ISO to go with, such as…

    What time of day are you taking the shot? If you are shooting outside at midday, you’ll need to use a lower ISO such as 100 or 200. If you are shooting at night time without a tripod or other equipment then you’ll need to increase the ISO to quite a higher number to be able to record the light on the camera’s sensor, so be aware of your cameras high ISO capabilities.

    Do you want a sharper picture or an image with more movement? Using a higher shutter speed to capture quick movement might mean that you need to use a higher ISO to compensate. Similarly, if you’re using a slow shutter speed to capture some motion blur then you’ll need a much lower ISO instead.

    Invest in some books before you splash out on extra gear.

    Having pricey camera gear doesn’t always mean that you’ll take great pictures. Some amazing shots can be taken with just a phone these days, so you need to take the time to understand this amazing specialist tool you have in your hands. Then you can wipe the floor with the seemingly amazing pictures taken by phone users who fancy themselves as pros. By studying what the actual pros methods are via some decent books, not only will you get some inspiration, but you’ll come away with even more to expand your own photos.

    Read the manual

    The best way to get to know your camera to actually sit down and read the manual. So many people miss this really vital step on their path. Cameras are diverse, none are alike, so by reading the manual you’ll get to know all the quirks and shortcuts so nothing stands in your way.

  • 5 Things You Need To Know About The New Inogeni Converters

    Inogeni’s video converters are the most easy and dependable tool for the concurrent capture of uncompressed video streams with audio from your HDMI/DVI/VGA or CVBS sources for your PC for either recording, videoconferencing, lecture capture and streaming methods. No driver installation is needed and it’ll work on all motherboards with USB 3.0 chipsets.

    Video Broadcast Equipment

    They’re Effortless to Use

    It’s probably the most practical uncompressed 1080p and 4K video capture and streaming answer. Smooth camera connection for video-conferencing and streaming apps like: Skype®, Lync®, Webex®, Zoom®, USTREAM®, Livestream®, and Livecast® to name but a few. No driver installation required either as it works just like a webcam does. It also extracts audio from the HDMI signal as well, while being powered solely by any USB 3.0 port. Impressive stuff indeed.

    They’re Simply Simple

    The Inogeni features a simple capture solution for: VLC, QuickTime, FFmpeg, Adobe Live Encoder to name but a few. Sophisticated video processing: up/down scaling and frame rate adaptation.

    Flexible Compatibility

    You can check the apps tested with it on their website. The Inogeni converters are compatible with all USB 3.0 host chipsets and motherboards. All OS's supported are supported too, including: Windows, OS X, Linux and Android. It runs with all media capture and streaming applications too. It also compatible with UVC, DirectShow, V4L2, QuickTime & AVFoundation so you really can’t go wrong.


    Solid and rugged professional-grade full metal enclosure. Field upgradeable firmware. Designed, fabricated, and expertly supported in Canada. Also comes with a 2-year warranty.

    Engineered by video professionals, this video broadcast equipment for professionals, it is the most compatible USB 3.0 device across most OSes and USB 3.0 chipsets. Remember that there’s no driver installation so you’ll have trouble-free operation, just Plug and Play! Also remember that since the list of features and software/hardware compatibilities is ever increasing, please see their website for the latest information.

  • Professional Camera Equipment: Discovering The New Tiffen PRO100 Series Of Filters

    Tiffen is bringing their prize winning Motion Picture and TV industry filters to photographers and videographers around the world with their brand new Pro 100 Series Filter gear. The adapter set attaches to your lens via the standard filter ring and then it allows you to use one or two of Tiffen’s MPTV 4x4 or 5x5 filters.

    Professional Camera Equipment

    Made precisely to work with Tiffen’s MPTV filters, the edge is sealed to stop any light spill, plus you can fully rotate it too. Tiffen says that the Pro 100 system will also come in two and three filter kit possibilities, allowing for photographers and videographers to make use of an assortment of filters for whatever their needs may be. The standards default filter size will be 77mm, but other ones ranging from 49-82mm will also be available.

    Tiffen has also added two originals to their diffusion line of filters, the Antique Pearlescent and the Warm Satin. These were made with 4K material in mind as well. Normally, these filters are intended to soften the skin in the mid tones, and bloom the highlights to give a resemblance to old films with glamorous leading ladies of the black and white era. While some may say that this can all be done in post nowadays thanks to filters in editing and post software, you can save a lot of time by doing it all in-camera especially if you’re on a budget. Plus, doing things the old fashioned way can be an awful lot of fun at times.

    The new filters encompass:

    • Extremely hard-wearing Aluminium Frame, equipped with rubber grips, allowing for a secure fit for the filters.
    • Holds up to two, 4mm thick glass filters
    • Fully rotatable adapter ring
    • Edge sealed to stop light leaks for long exposure photography
    • Works with adapter rings from 49mm-82mm

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

    3D Broadcast offers professional, impartial and unbiased advice to help you make the right choice when you need only the very best when it comes to cameras filters and most other gear you’d need on set as well.

  • Teradek Bolt 3000 & 1000 Wireless Transmitters Vs Teradek Bolt 300, 600 & 2000: Which Should You Buy?

    The Teradek Wireless Transmitter range comes with a huge choice of options to suit your needs.

    It’s a wireless transmitting system for HD video signals and its main utility lies in organising a suitable and effective, on-set monitoring scheme, such as a video village. Teradek’s Bolt series can wirelessly communicate a 4:2:2, 1080/60p video signal up to 300 feet for the base model with zero frame delay, which means that all of the noises and interruptions characteristic to a video village can be situated further away from the action.

    Going up the series, the most ground-breaking bolt we sell really transmits up to 3000 feet, which is truly astonishing.

    Teradek Bolt 3000 & 1000 wireless transmitters

    Bolt transmitters come in “unicast” and “multicast” variations. The Bolt Pro is the multicast model, and it allows users to transmit to numerous receivers at the same time, with safe AES 128 encryption. The Bolt Pro also features 3G-SDI connectivity with loop-through and an internal, rechargeable Li-ion battery with enough volume for roughly 60 minutes of run time. Both the Bolt Pro and the Bolt (unicast) sport a 6-28V LEMO DC input for linking an external power source. Bolt transmitters are also encased in a shaped aluminium enclosure, and the Bolt receiver is contained in ABS plastic. Additionally, a number of 1/4”-20 threaded holes deliver several mounting points for attaching the transmitter or receiver to a support system. In spite of its rigorous build quality, the Bolt transmitter weighs in at roughly 200 grams.

    The Bolt receiver has dual 3G/HD/SD-SDI outputs for either a two-monitor arrangement or one monitor and a Teradek Cube or Brik. Compatibility with Brik and Cube encoders lets the Bolt stream to an iOS device or another delivery network of your choosing over either HLS, ZiXi, RTMP, RTP, RTSP or MPEG-TS protocols. WSDI Pro technology allows the Bolt system to fine-tune frequency bands in real time, which allows the arrangement to harmonise with Wi-Fi and 5 GHz devices.

  • Best Professional Camera To Buy? Discovering The New Canon 5D Mark IV Camera

    The Canon EOS 5D series is probably one of the most identifiable series of cameras since the advent of digital cameras came about for professionals. This time the Mark IV is intended to appeal to the similar wide range of both photo buffs and professionals. It looks almost identical to its predecessor, but if it ain’t broke don’t fix it right? The camera receives substantial upgrades on the inside, counting: a higher-res sensor with Dual Pixel autofocus, 4K video, an advanced AF system, a touchscreen, better-quality weather-sealing, built-in Wi-Fi/NFC, an intervalometre and GPS. All this adds up to a camera that fits into Canon's product line suitably as the versatile full-frame choice.

    professional cameras

    It is constructed around the new 30.4MP CMOS sensor and uses the Digic 6+ processor. The AF system is straight from the flagship 1D X Mark II and embraces a whopping 61 AF points (41 of which are cross-type) with up to 24% extended vertical coverage when compared to the Mark III. The centre point is also sensitive to -3EV in One Shot mode, plus in live view, it’s sensitive to -4EV if you have a fast lens handy.

    4K video capture is a very welcome and very wanted extra and operators can capture in either 24 or 30p, although with a 1.64x crop. All footage is captured as Motion JPEG too. Furthermore, the camera lets you take 4K Frame Grabs, which basically gives you 30 fps stills shooting with (Dual Pixel) AF. The helpfulness of this may be contingent on how well-controlled the camera's rolling shutter is, and how satisfied you are with 8.8MP JPEGs in the 17:9 ratio, but it’s really remarkable how effective 4K/60p video capture is on the 1D X II for getting that critical moment captured.

    While conjuring up the Mark IV, Canon says it trawled forums and professional opinions from 5D-series operators and found that dynamic range, resolution, auto-focus precision and speed were at the top of the request list. On paper anyway, the Mark IV seems to address these users’ needs quite nicely:

    Canon 5D Mark IV Key Specs

    • New 30.4MP CMOS full-frame sensor with Dual Pixel AF
    • DCI 4K 30/24p video using Motion JPEG + 4K Frame Grab
    • 61-point AF system with 41 cross-type sensors (centre point sensitive to -3 EV)
    • Dual Pixel AF (sensitive to -4EV) for continuous Servo AF in stills (first for a full-frame Canon camera) and video
    • ISO 100-32000 (expandable to 102400)
    • 7 fps continuous shooting
    • Dual Pixel Raw (with image micro adjustment, bokeh shift, and ghosting reduction)
    • 150,000-pixel RGB+IR metering sensor
    • 1.62M-dot 3.2" full-time touchscreen
    • Wi-Fi w/ NFC + GPS
    • Built-in bulb timer interval timers

    Improved weather-sealing

  • Find The Best Panasonic Camcorder: The Ultimate Guide

    Pro-quality video, for everybody.

    Whether you're a budding film maker, a knowledgeable videographer, a family person, these full-featured Panasonic camcorders make it easy to capture and share stunning video wherever you want, whether it’s on holiday or on a job. Common advanced features like image stabilization, WiFi/NFC and 4K Photo Mode make unforgettable images effortless to get.

    Panasonic AG-UX90 UX Series 25P Ultra Camcorder


    With a snowballing demand for 4K video content, Panasonic is presenting the UX series to make 4K procurement even more reachable to video professionals. UX camcorders will deliver high-mobility shooting and workflow equal to our existing professionalintegrated-lens handhelds.

    AG-DVX200 4/3-type Fixed Lens 4K Camcorder

    2Following the breakthrough AG-DVX100, the new AG-DVX200 unveils itself as the world’s first1 4/3-type large format, 4K/60p (Using SDXC/SDHC Memory Cards compatible with UHS Speed Class 3 (U3) when utilising high bitrate recording mode of 100 Mbps or more) camcorder to sport an unified zoom lens too.

    Panasonic AJ-AC30 Lightweight 50Mb/s HD Camcorder with Built-in LED Light

    3The AG-AC30 is a handheld camcorder with excellent low-light features and many other professional features and tools, allowing the user to record gorgeous zoom shots and even big groups thanks to its wide focal range (zoom 20x and 29.5 mm wide angle).

    Its LED video light with 2 light filters contained within permits dependable shooting even in night scenes and dark location as the colour change filter adapts colour temperature while the diffusion filter softens the light source.

     Panasonic AG-AC90A Entry Level 3MOS Full HD AVCCAM

    4Panasonic AG-AC90A AVCCAM unites high image quality, innovative functions and effortless operation that professionals mandate in a sophisticated, easy-to-handle design. The 12x optical zoom begins at 29.8mm and ends at 383.7mm at the limit of its zoom range. The camera sports a high speed F1.5, BI (back-illuminated sensor) type 3MOS image sensors giving you Full-HD resolution. In addition to the high-quality pro PS/PH mode (1920 x 1080) recording, the AG-AC90A also supports PM mode (1280 x 720) and low-bit-rate CS mode (720 x 576) for distribution over a network if need be too.

    Panasonic AJ-PX270 AVC ULTRA Camcorder

    5The AJ-PX230 is an exceptional new model camcorder with a tremendously high cost to performance ratio.
    It sports a commanding CAM-type 22x zoom lens with a trio of manual rings, a 600% dynamic range with 1/3-type 3MOS (RGB) image sensors, and AVC-ULTRA* multi-codec capturing, including the high-quality AVC-Intra200 codec, all within an easy-to-operate, professional camera shape.

    As the last word in handheld camcorders, the AJ-PX230 offers high-quality recording for a multitude of uses, from ENG to video production.


  • 5 tips for using professional camcorders and shoot stunning videos

    Anybody can capture videos, but not everybody can capture appealing ones. Also, while some accept that recording good material is only attainable with quality gear, the fact is, this is only half of the equation.

    5 tips for using professional camcorders

    Getting great video requires training and lots of practice, and even top equipment, such as a professional camcorder, won’t do you any good if you don’t refine your skills, so here are some tips on how you can shoot gripping videos from now on.

    Although the basics always tell you to fill the frame with the subject, you shouldn’t be too scared of placing them a little off-centre. For example, when capturing kids who are moving around at the speed of light anyway, film them slightly to the right or left of the centre while they’re doing whatever they’re doing to make the shot more interesting visually.

    Overdoing the zoom is a widespread habit among new videographers, and this can result in amateur-looking material. It can also make people dizzy too, so should there need to be any zooming in, do so gradually and steadily, and don’t abruptly zoom out either. Furthermore, you may want to avoid of digital zoom as well, as all it does is blow up the footage so it will probably pixelate. Optical zooming is always better, since they offer superior video quality.

    Wide, all-encompassing shots are often used to determine the location of the footage, but you should use them economically. After such a shot, get down to the details. Start concentrating on the little details to build relationship with the viewer and pique their curiosity.

    Use numerous vantage points. For example, when documenting a football match from up in the nosebleeds, the subsequent footage might end up being a tedious to watch, they want to see the action. However, a video captured from diverse points in the stadium amplifies the production quality and drama of your footage because of the combination of shots.

    Shoot only the important moments, if you need to shoot sparingly, unless you have decent batteries and a patient editor. Go ahead and capture the entirety of that wedding if you can edit it down easily afterwards. If you can’t then stick to those obvious big moments throughout the day.

  • Buy Professional Video Cameras Tips

    A digital camera which can shoot video or a standard HD camcorder will do what you need if you just want to reminisce over your holidays every once in a while or record your baby’s first words and steps. So why would anybody shell out more for a professional grade video camera? The important part is the word “professional.” If you want to make some serious money and potentially a business from your video efforts, you’ll need the characteristics only a professional video camera has to give.

    Let’s look at a few of the advanced features that set a professional camcorder apart from the herd.

    Manual control

    For amateur home video, you can always use autofocus, scene modes and other pre-sets to help get a clear image, even if you’re not the next Orson Welles. For a professional shoot, you’ll want to have direct manual control of each setting, so you can indulge your creativity and make the shot look exactly the way you imagined it.

    Professional connectors 

    In a professional setting, the camera will often be connected to an outboard monitor and one or more microphones. Pro cameras are set up to make secure video connections via SDI (serial digital interface) or the next best thing, HDMI. For sound, XLR connections are the gold standard.

    Recording formats

    Consumer video and audio are typically compressed so that we can store a lot of files in one place. For a professional shoot, quality trumps convenience, so you’ll want to make sure your camera uses a high-quality recording format.

    Professional video cameras typically record in the AVCHD and MP4 formats. AVCHD is the higher-quality format that offers Blu-ray quality HD video. The more compressed MP4 format is commonly used for posting video on the web. MP4 is still fairly high quality, but it takes up less memory space on a hard drive or website. Cameras with dual memory card slots often record both codecs simultaneously.

    Larger sensor

    A larger image sensor allows for higher resolution and more detail. That’s why professional video often looks more sharp and clear than amateur footage.

    However, the sensor on a professional DSLR camera is frequently larger than the one on a pro video camera, so in some cases video experts prefer to shoot with the DSLR when possible. The larger sensor and easy access to interchangeable lenses allows a filmmaker to create a more “film-like” look on a budget. A DSLR may not handle fast panning as well as a professional video camera, and it definitely lacks the higher-end audio connections, but it’s a tempting option for someone who’s just getting started.

    Image stabilization

    Sure, you’re shooting moving images, but not all movement is good. A professional camera will be able to record a steady, clear image even when the camera operator is in motion.

    4k video is the next big thing

    If you want to shoot video that will look spectacular on the next generation of screens, you’ll need a camera that can record in ultra-high resolution. It’s not a common feature yet, and editing 4K footage is daunting, but a few high-end cameras are getting ahead of the curve.

  • Buy Broadcast Lens: The Complete Guide

    Reaching the correct choice of lenses is of vital importance. There are whole arrays of broadcast zoom lenses, HD Primes lenses and cine-style zoom lenses intended precisely for HD, as well as many diverse 35mm lens adapters counting optional mounts to be able to fit motion picture film and also stills lenses as well, so you’re spoilt for choice if you don’t know what to look for.

    broadcast lens

    All of these lenses have the potential to give you great production value, so the choices can be overwhelming.

    Keep these tips in the back of your mind at all times:

    • Lenses make a huge impression to the production values of a given shoot.
    • HD broadcast zoom lenses are significantly better than SD broadcast zoom lenses and the variance is obvious when you see the footage.
    • HD cine-style zoom lenses are capable of better production values than video-style zooms as a result of much better optics, reduced focus breathing, and improved focus control for pulling focus.
    • HD Prime lenses are proficient at giving you a shallower depth of field than HD zoom lenses (when used at the wider apertures) but the swiftness of a production is slower when using Primes, as lenses will need to be regularly changed instead of just resizing the image via zooming instead so keep this in mind when having production meetings.
    • The size of the sensor affects both the viewing angle of the picture and also the corresponding depth of field quite a lot.
    • 35mm adapters come in numerous different shapes and sizes and these can work brilliantly with a whole host of cameras with a suitable adapter to confine the depth of field but there are some disadvantages to using them and these appear predominantly with the cheaper adapters which are not very sturdy.
    • There are several varieties of 35mm lenses obtainable, most of which are very pricey to buy/hire. On the other hand, still lenses are a possibility but there are many disadvantages to using these for film production instead.

    The main variance between cine-style and video-style broadcast lenses

    Conventional broadcast lenses are intended to be used on a camera which is shoulder-mounted or tripod-mounted. Therefore, they permit the camera operator to work or adjust focus whilst shooting by themselves. In order to differentiate them from the cine-style zoom lenses, they are also called sometimes called video-style lenses or ENG lenses, which stand for Electronic New Gathering.

    The physical restrictions of movement of a person's arm also restricts the focus adjustment through the entire focussing range of a broadcast lens in one movement, to roughly 1/3 of a turn. Consequently, for practical reasons, the focus tuning on a broadcast lens is then limited to around 1/3 of a turn, which is great for shoulder mounted sue but not so good for drama where the need for subtle focus adjustment is really needed.

  • Tips For Shooting Great Video

    Here are some shooting guidelines to help you evade some of these common blunders.

    We always recommend that you go out and record some video first to get to grips, and then read through these tips while going over your footage to emphasize what you need to dodge next time.

    Handheld Camcorders - shooting great video

    Preparing Your Shoot

    Discuss your shoot with your production team and make sure you’re strong on what shots you need to tell your story.

    If you’re on your own, then jot down a list of shots you need. Write the story in advance in your head, and detail the essentials you want to get video of to tell that story.

    Reflect about what’s going to look great visually, and how your shots are going to come together consecutively in the edit.

    Freeze up Your Shots

    Remember to hold your shots for at least 15 seconds, before you do any movement with a professional camera, such as panning zooming, or moving the frame at all.

    By doing this, you’ll be sure you have adequate footage of a scene to work with later in the edit.

    If you’re just starting out, then remember to count the numbers in your head my maintaining a steady shot to make sure you’ve held it for long enough, your future self will be so grateful when they are toiling away editing.

    Remember that it’s much easier to cut down 15 seconds to 2 seconds rather than the other way around, which is actually impossible.

    Framing and Composing Your Shots

    Be conscious of composition in your shots and how you position or frame your shots, especially with interviews or talking heads in close-up.

    Let's say for example, you should always avoid a shot of anyone with a lamp post or tree directly behind them. It will look like it’s growing out of their head and is always more noticeable to the eventual viewer so remember to compose your shots appropriately.

    When filming interviews pay attention to your environments and don’t be quiet about reorganising fixtures, relocating things on a desk, or pushing plants aside to improve the scenery, or asking the subject of your shots to alter their position so you can appropriately frame the shot.

    Lastly, if you’re having technical difficulties, don’t be scared to take charge and halt the interview until you can suitably set up the shot your happy with.

    Depth of Field

    Be conscious of ways to intensify the sense of depth inside your shots. If you’re shooting someone, try to embrace other objects in the background or foreground where appropriate that will give the viewer a greater sense of depth. That way the interview subject won’t seem to be just a 2D object on the screen.

    Also keep in mind that a wide angle shot will deliver a much better depth of field than a telephoto shot where you’ve zoomed in on your subject instead, so always go with the wider lens if you have it available.

    Happy shooting.

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