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Professional Camera

  • The Kandao Obsidian Professional 360° VR Camera

    The Kandao Obsidian Professional 360° VR Camera
    Virtual Reality (VR) rose from obscurity back in 2015 to become a trend in under three years. And, now, VR videos are getting insanely popular all over the globe. Mind you, we are no longer just talking about immersive gaming technology; but the remarkable ability to create super spherical flicks and amazing VR videos using 360° cameras.

    VR videos provide a first-person visual experience to give you the impression that you are present at the scene. They also give you a sense of depth as you can look around and see what is happening in every direction. However, you need to adhere to specific parameters for movement and placement of the 360° cams.

    Capturing a VR Video

    When filming with a 360° professional camera equipment, there is no "behind the camera" situation as the camera's field of view spans around the whole environment encircling it. Thus, you need to clear all clutter, or at least ensure that you do not mind having the things or activities around you in the video.

    Camera placement is highly dependent on your storyline. The role that you want the viewers to play in the video should guide you. If you want them to spectate, then you should place the camera outside the activity. But if you want them to feel like participants, then you set the camera at the heart of the activity. Remember to place the 360° camera approximately 6 ft high for an eye-level visual experience.

    The 360° camera needs to move in all directions. You should ensure that the camera's movements are smooth and stable. However, whoever or whichever device moves the camera will appear in the final footage. Although, it is possible to edit them out.

    Meet the Kandao Obsidian

    Several tech giants took Facebook's decision to make its 360° 3D video capturing system (Surround 360) open source as a challenge. Many companies went back to the drawing board, but a year later, only three earned Facebook's recognition. Among them the Obsidian R: an 8K high-resolution 360° VR professional camera from the little-known, China-based Kandao Studio.

    The Obsidian R captures 360° photos in 8k resolution using a system of six integrated fish-eye lenses. It then employs a seamless "one-click" software to stitch footage at one frame per second to generate high-quality stereoscopic panoramas.

    Kandao Obsidian R

    The "one-click" software speeds up the post-production process by eliminating complex steps. The system allows you to complete 3D panoramas with just a touch of a button, literally. The camera also learns your preferences and stitches your footage automatically after a short period of use.

    The palm-sized Kandao Obsidian is light, rugged, and highly portable. It features three powering options: an external 12V charger, two batteries, or an Ethernet cable. The Ethernet cable facilitates file transfers and image setting controls thus eliminating the need for slow HDMI cables and costly HDMI capture cards.

    The Obsidian's suite of software solutions with a comprehensive range of rich functionalities is perhaps what earned it the 2017 CES' "Best of Innovation Honoree" in the Digital Imaging Product Category. It comes standard with new-user-friendly software for stitching, editing, post-processing, video encoding, and live streaming. The only downside is that you have to purchase a license for live broadcasting.

  • What To Consider Before To Buy Cinematic Cameras

    Buy cinematic cameras: what camera shall I choose?

    The big sensored digital cinema camera that we’re all familiar with today has trailed behind a stimulating history of cinematic camera evolution. Remember that it’s digital video, not film, or celluloid, and the idiom ‘digital film’ doesn’t really make sense either.

    Appreciating the relatively brief past of the cinematic digital camera is helpful in understanding why we now have lots of different cinematic cameras today, and why they have congregated on some important similarities which have become the ‘standard’. It’ll also help in realising why there are so many variables between brands as well you can choose when the time to buy a cinematic camera arrives.

    Buy Cinematic Cameras

    From the miniDV home camcorder style cameras, to Canon’s XL1 and prevalent Sony PD150, from interlaced standard definition to professional high definition broadcast cameras the truest heritage of today’s large sensor cameras originates from TV and broadcast.

    It may feel like an insult to our artistic side, but our digital cinematic cameras are more closely connected to DV than to celluloid film. However, it’s the aspiration for a more cinematic picture quality with more filmic features that gave digital video technology a key change in direction. This yearning did not originate from the professionals in broadcasting, but from the profound dissatisfaction coming from the new generation of indie filmmakers.

    Nowadays, the truly cinematic cameras are an outcome of the most open-minded of yesterday’s geniuses chasing that dream of having 35mm quality without the film being involved and the associated costs. This culminated into what is now two branches of the same digital ‘tree’. The first and original branch endures today by providing us with the latest in HD and UHD broadcast cameras and broadcast zoom lenses, where resolution is at the forefront of the mind-set.

    The second branch has led to the ‘35mm’ cinematic cameras, established to function within the current 35mm film camera world and is intended to fulfil vastly different needs from the first branch. These are the needs of the big screen, where image quality, and not necessarily resolution, is dominant. Ergonomically the camera needs to fit within the film set and the current film camera unit, not just to a lone operator often seen in the broadcasting world.

    If you need to buy cinematic cameras, nowadays you have more choice than ever when you go to buy equipment and accessories, spread over a much wider range of prices and features than could have been conceived a decade ago. The extensive digital cinematic camera market you as a customer and us a provider, simply did not exist before. It’s thanks to those visionaries that we now operate this diverse industry.

    Remember that there is no such thing as the camera for everyone. They have all grown and evolved in form, features and function to achieve their own particular fortes, but these days you are certain to find more than a few choices that will suit your distinct necessities when the time to buy a cinematic camera comes.

  • Discovering The New Professional Camcorder Features From Canon

    The new professional camcorder Canon XC10

    The XC10 is Canon's entry-level Cinema EOS professional camcorder. Still, it's a quite different when compared to other cameras in Cinema EOS range, such as the C300 line.

    For starters, it's price puts it much nearer to consumer-grade camcorders. This is also a camcorder with an immovable lens, rather than EF mount, and there's no Super 35 sensor inside either.

    On the other hand, the XC10 does convey a generous one-inch CMOS sensor and the capability of capturing 4K video. So could this finally be the professional camcorder-DSLR hybrid people have been itching to get their hands on?

    The key reason Professional Camcorderbehind videomakers seeing DSLRs as so eye-catching is of course the image quality offered, and excelling in this space allows the XC10 to be excused for what are only a few shortfalls. It's very capable in the image quality department, and the photos it generates are a cut above what the usual camcorders with lesser chips and sensors are capable of. Specifically, the DOF at it’s widest of f/2.8 can create very attractive shallow focus effects.

    The video shot in 4K is overflowing with details, and there's unquestionably no indication of artefacts due to the huge bitrate. Even when left in default mode, the colours are tremendously normal and precise. With the additional looks, extensive dynamic range and Canon C-Log possibilities, there's a massive amount that can be done to give your material exactly the look you want, or you can match it simply to material shot on another camcorder.

    So should I need this professional camcorder?

    In terms of the professional camcorder, the XC10 will win you over, despite some of its faults. However, if you're looking for the be all and end all of devices that is as happy being a DSLR as it is a camcorder, this isn't quite there.

    The XC10 is more inclined towards its video capabilities than stills, as you’d expect from the camcorder brand. However, the digital photos are far superior to those of a run of the mill camcorder. You're more likely to be pulling your stills off of your 4K footage anyway.

    For a devotee who films more video than takes photos, this could be a brilliant camcorder for capturing what is almost cinema ready material. It could also be great for film students, or ENG. It's a little pricey when compared to the DSLR possibility, but the 4K video format used is leagues above any DSLR, and its video shooting capability is much easier to work with as you can imagine for a camcorder.

    The Canon XC10 is not quite the professional DSLR-camcorder cross it touts itself as being, but it captures great 4K footage.

  • Canon Camcorder: choose the right camera for your needs

    Canon digital camcorders have the improvement you need and the dependability you love in bringing greater image class and performance. Featuring Genuine Canon Optics and Canon's innovative, proprietary video technologies, Canon's exciting line-up of camcorders continue to rate among the best in class. Whatever your application may be, there's a Canon camcorder intended to flawlessly match your needs.

    Most of Canon’s camera designs are fairly clear-cut. But they’ve also thrown some exciting and strange looking models into the assembly over the years: The cylindrical 35mm film Autoboy Jet, and the no-buttoned and tiny sized PowerShot N amongst them. But 99% of the time, Canon’s design sense skews towards the traditional, just like most other manufacturers.

    Canon CamcorderNot this time though, and it’s nice to see that Canon can still dare. The new Canon XC10 is something between a camcorder and a camera, although Canon is promoting it mainly as a camcorder. Canon says the XC10 was manufactured with roaming journalists in mind. It takes 4K video and 12-megapixel stills with its mechanical shutter and 1-inch-type sensor. This time, that imager is fixed into a body that looks like it should be easy to use when shooting both stills and video, and that’s not always the case.

    Sensor size isn’t the only attribute this hybrid video-and-photo contraption shares with Sony’s. Its adjustable pivoting handgrip and distinctive body make you think back to Sony’s Cybershot cameras and its precursors. The XC10 is slightly more cutting-edge, though.

    At its maximum resolution, it captures 3840×2160 video at 30 fps. It will also capture 1080p clips at up to 60fps, and 720p clips at up to 120fps for those slow-motion runs. For the Ultra HD video, the camera makes use of Canon’s branded XF-AVC codec, which is also used in its Cinema EOS C100 Mark II professional camera. That codec also supports a bit-rate of up to a massive 305Mbps, which means a huge amount of detail in the image.

    It’s a fixed-lens camcorder, and its optics span from 24mm wide angle to 240mm telephoto with an upper limit aperture of F2.8 to F5.6 at the particular ends. Manual focus is changeable via a control ring around the lens, and there’s an actual mode dial and control wheel on the grip for changing the manual shutter, and aperture controls. A variable 3-inch tilting touchscreen around the back lets you touch the screen to focus and get access to greater menu selections, and there’s an independently sold clip-on unit to turn the screen into an electronic view finder.

  • 3 rules for acquiring a digital cinema camera package:

    Rule No.1 Be Realistic

    If you are just starting, it’s vital to realise and admit that your initial work is not going to be a masterful work of art. When you watch it again in a year or two, you will see how dreadful it really is. Not that this is a bad thing by any means, you have to start somewhere. It’s just the truth of educating yourself in a new skill. It will take time to refine your talents. Due to the associated learning curve, it’s advised to never start shooting on the latest top of the class cinematic cameras. In its place, get the most you can afford while avoiding stretching yourself. Then learn the craftsmanship using that system. What you cram into your brain with your new system will carry over to the next cinematic camera system you buy as the basics are the same, only the hardware gets more complicated. There’s no need for 4k just yet, and 1080p will do you just fine.


    Rule No.2 Think Long-Term

    The one persistent thing in this industry is that your cinematic camera systems are eventually going to change and evolve to carry the latest technology with them. If you can have a long-term viewpoint as you buy the parts of your cinematic camera arrangement, you will be better off. Put your cash into as many bits of kit that will last as long as imaginable, and will survive your existing camera system. If you are going to buy a more luxurious arrangement, make certain that you have the business model to back it up.

    Rule No.3 Evaluate the Tangible Costs

    Cinematic camera makers can be very talented at concealing the actual costs of their camera systems. There are all kinds of veiled expenses that can start to add up and affect your tool bag and work ethic. As you see different camera systems, have a gander at the following subjects:

    • Accessories: What do you need to have to really be able to shoot in the style you’re happy working in? Do you require all the bells and whistles, or can you survive with almost the bare bones.
    • Personnel: How does this cinematic camera impact the extent and know-how of the crew needed? How does it also impact the lighting necessities and running costs/ budget?
    • Post: How does the footage format effect the storage, workflow, and processing clout required to use it? What kinds of targets and turnaround times do you usually have to put up with?

    All of these caveats can negatively affect your whole cinematic camera kit and business model as a whole, so as mentioned earlier, if you can have a long-term viewpoint as you purchase the parts of your camera arrangement, you will be much better off.

  • Buy professional camera cases: the ultimate guide

    Here is a countdown of our top 5 bestselling and most popular camera bags.

    Sachtler SC005 Dr. Bag 5 Extra Large Bag

    bag 1

    Extra-large bag with innovative design featuring safe shell and extra wide opening to hold your camera with accessories attached and extra gear.

    Inspired by the traditional doctor's bag, Sachtler's Dr. camera bags feature a hinged, extra wide opening allowing for fast and easy access to the camera with the mattebox and microphone attached.




    Sachtler SC303 Campack Plus Camera Backpack

    bag 2

    Sachtler's SC303 Campack Plus is an ergomic backpack system with space for a laptop and CoverUp all-element protection. Ergonomic camera backpack with space to hold camera with viewfinder
    attached.Compact ergonomic shell design with padded carrying handle.

    • Unique opening system designed to protect the backpack when placed on the ground.
    • Breathable 3D mesh ensures comfort when carrying over extended periods.
    • Safe-Shell  protects your delicate equipment.
    • Removable internal rigid dividers for custom configuration.
    • Double sided exterior monopockets for extra storage.
    • CoverUp all-elements protection system with removable cover for adverse weather conditions.





     Portabrace RIG-6SRK (RIG6 SRK) Camera Case with interior kit

    bag 3
    The black RIG-6SRK Rig Camera Case from Porta Brace is a complete, zippered case for holding your assembled cine-style rig in shooting position. It's made from a rigid hollow-core plastic frame and complemented by a foam-padded, Veltex (touch fastened) interior to gently cushion your valuable gear.







    Tamrac 5836 APACHE 6 Camera and Tablet Bag

    bag 4

    Tamrac’s Apache 6 Camera/Tablet Bag is a discreet, comfortable, lightweight photo messenger bag that offers superior organization and equipment protection.

    This bag is perfect for a DSLR with a lens attached up to 6”, 2-3 extra lenses (including a 70-00mm f/2.8), a flash, and accessories. An interior foam-padded compartment holds a tablet or laptop up to 12 x 9½”.






    HPRC 2730EW Hard Camera Case with Wheels Stylish Italian Design

    bag 5

    Our all-round multipurpose case. HPRC cases can be used for all sorts of applications and different areas: photography, industrial, military, nautical, police and many others. HPRC provide total protection to the equipment inside them against dust, water, impacts and corrosion for chemical agents.

  • The smallest Black Magic cinema camera for the best video quality

    Introducing the world’s smallest digital film cameras with an incredibly strong design. Black magic Cinema Cameras feature wide dynamic range for shooting true digital film combined with precision PL, EF and MFT mount optics and high quality RAW and ProRes file recording. The built in touchscreen lets you monitor, change settings, display audio and exposure metering and enter metadata directly on the camera! You can choose from models with two different types of cinematic image sensors and three different types of lens mounts such as PL, EF or MFT, depending on your needs.

    Black Magic Camera

    The reason the latest and most amazing television commercials, music videos and feature films look so good is because they’ve been shot with a digital film camera and then colour corrected using DaVinci Resolve. Video cameras, even high end broadcast video cameras, always just look like sharper home movies because they’re limited to a regular video sensor. Black magic Cinema Cameras are true wide dynamic range digital film cameras designed to shoot with cinematic quality. Imagine adding the style and quality of digital film to your latest TV commercial, feature film, music video or even documentary, weddings or corporate videos!

    Get richer colours and a more creative depth of field

    If you need higher resolution, global shutter and a more creative depth of field then the Black magic Production Camera 4K models feature a large Super 35 size sensor and professional PL or EF lens mounts, so is the perfect choice. You get incredible Ultra HD images with 12 stops of dynamic range for feature film quality shooting. The minimal crop factor lets you shoot with super wide angle lenses so you get images that are big and beautiful, plus have the dynamic range to capture highlight and shadow details far beyond that of any traditional video camera.

    Use PL, EF or MFT Lenses

    No other camera gives you more choice in lenses

    You can choose between models with PL, EF or MFT lens mounts so you can use the world’s best and most technically sophisticated lenses. The PL models allow you to use, or even rent, professional cinema lenses from companies such as Panavision™, ARRI™ or Zeiss™. You can even use vintage PL cinema lenses when you’re shooting period work where you want to recreate the look of that time by using the actual lens they used back in those days! The EF models let you use high resolution Canon™ photographic lenses for amazing quality, while the passive MFT model allows super small lenses and the flexibility to adapt to other lens mounts.

  • 4K Black Magic Cinema Camera: the best result at an unbelievable price

    Much anticipated, the 4K Black Magic Cinema Camera delivers what cinematographers have been hoping for. And once again, in true Black magic style, the price is unbelievable.

    black magic Cinema CameraAbove and beyond the great image results, it's worth noting the excellent workflow options with multiple recording and live signal options. Black magic is also to be praised for keeping with the form factor from the original camera which means that rigs, viewfinders, bags and monitors users have previously invested in will transfer instantly onto the 4K model.

    Shoot Ultra HD TV or 4K feature films with the new Black magic Production Camera 4K. You get a large Super 35 size sensor with professional global shutter combined with precision EF mount optics, high quality visually lossless compressed CinemaDNG RAW and Apple ProRes 422 (HQ)™ file recording for a complete self-contained solution. The built in touchscreen lets you monitor, change settings and enter metadata directly on the camera!

    Utilize the power of 4K resolution in your work

    The latest high end televisions and video projectors support Ultra HD which is four times the resolution of 1080 HD. The Black magic Production Camera 4K creates visually lossless compressed Cinema DNG RAW and ProRes 422 (HQ) files that are perfect for editing and grading with the software tools you already own. Now you can shoot the most amazing high resolution music videos, episodic television productions, television commercials, sport, documentaries, interviews and feature films.

    The Black magic Production Camera 4K features a single 6G-SDI output for incredible Ultra HD live production.

    Compact solid metal design

    The Black magic Production Camera 4K is precision engineered for quality in an incredibly small size. You get a beautifully crafted design featuring a machined aluminium chassis, EF lens mount for interchangeable optics, high resolution 4K Super 35 size sensor, global shutter, and visually lossless compressed Cinema DNG RAW and ProRes 422 (HQ) file format. With built in uncompressed audio recording you can record professional audio straight to the ProRes files and totally eliminate separate audio syncing during post production.

    Large Super 35 Sensor

    With a large Super 35 size sensor you get familiar framing and behaviour from the lenses you already own! The sensor features a global shutter so you get perfect panning and with minimal crop factor you also get beautiful wide angle shots from your wide angle lenses. If you're working in HD you'll love the freedom to reframe and zoom into shots without any resolution loss, and when down scaling from 4K to HD you get incredibly smooth and clean images.

    Super Fast SSD Recorder

    Capture 4K ProRes™ directly to a removable SSD!

    With a built in SSD recorder, Black magic Production Camera 4K easily captures 4K in ProRes 422 (HQ) and compressed Cinema DNG files. You get a 4K camera designed from the ground up to be part of your post production workflow! Capturing to a removable SSD means that once you’ve finished shooting you can simply connect the SSD to your computer and edit or colour correct your shots straight from the disk! Disks can be formatted in either HFS+ or exFAT for Mac and Windows compatibility.

  • Our breakdown of the Canon EOS C300 4k MkII

    The EOS C300 Mark II is the next generation of Cinema EOS camera with 4K internal / 4K RAW external recording.

    Upgrades over C300 is 15 stops dynamic range, Canon Log 2, 8 and 10 stop ND options, 4K internal recording, 2K recording option, 16/24 bit audio option, 4 channel audio compared to 2 channel, 120 slow mo option (crop), improved dual pixel CMOS AF, 4K codec, improved viewfinder.

    Two challenges are increased weight of 500g and new battery system.


    • Simultaneously recBuy Cinematic Camerasord 4K internally on CFast 2.0 cards, proxy
      (smaller) files on SD and 4K Cinema RAW on 4K external recorder; useful for live monitoring, off line editing and speeding up the workflow.
    • Improved Dual Pixel CMOS AF now covers 80% of the screen, has face detection and the AF is highly adjustable for different video situations.
    • Control the camera and focus wirelessly with Browser Remote via computer or tablet, no app is required. The focusing area can be moved by touching the tablet. Invaluable for drone and remote work.
    • New Canon Log 2 gives 15 stops of dynamic range for class leading detail in mid-tone, shadow and highlight areas at all ISO speeds.
    • 4K 4:2:2 10 bit 410Mbps means low compression highest quality 4K internal recordings.
    • ISO range now starts at 160 and is up to 102,400 ISO for all lighting conditions.
    • 2K/HD 4:4:4 12 bit internal recording for the highest quality 2K/HD recordings.
    • Faster sensor readout means reduced rolling shutter distortion.

    The built in image ‘looks’ means footage can be shot to match the ‘looks’ of other cinematic cameras like Arri, Sony etc. This makes blending all the footage much easier and is common practice on bigger cinematic productions that like to have different cameras performing specific tasks.

    3D Broadcast offers professional, impartial and unbiased advice to help you make the right choice in cinematic camera acquisition, post-production and media distribution.

    With an ever growing international client base including freelancers, educational establishments, independent production companies, major cinematic 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.

  • Cinematic Cameras for high end budget TV and features

    Following on from our selection of camcorders, here is our next list featuring the very best cinematic cameras we have to offer. This list is aimed for high end budget TV and features.

    Sony F65 Super 35mm

    The F65 is a top-end motion picture camera. It features a true step-change in sensor technology, using a 20 Mega pixel 8K CMOS sensor. The F65 runs up to 120Fps, creates HD/2K or genuine 4K resolution images with a huge colour gamut, outstanding dynamic range, and high sensitivity.

    The dockable SR-R4 SRMemory unit records 16bit linear SRRAW directly on to an SRMemory card at up to 5 Gbps. This can be developed with industry-standard NLEs from companies such as Adobe, Avid, Apple, Film light, Quantel, Sony and many others. For maximum operational flexibility, the SR-R4 can also support SSTP (same as HDCAM SR) recording which can be used natively on the same NLEs.

    Panasonic Varicam Super-35mm 4K

    The VariCam 35's (AU-V35C1) superb image handling in multiple formats including 4K, UHD, 2K and HD make it an unparalleled tool for high-end filmmaking, commercials and episodic production as well as live 4K events. With an expanse of formats ranging from flawless 4K RAW output to more practical 4K, UHD, 2K and HD capture, the VariCam 35 when combined with the AVC-ULTRA codecs for 4K enables very manageable and practical 4K production file sizes.

    The VariCam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; this imager boasts an impressive 14+ stops of latitude and faithfully captures high-contrast, wide dynamic range imagery without compromise. Powerful colour management capabilities provide a much extended colour gamut for impeccable image fidelity and permit support for an Academy Colour Encoding System (ACES) workflow for full fidelity mastering of original source material.

    ARRI ALEXA Classic

    The first camera on the scene remains at the centre of the family; it is the keystone of a modular and upgradeable system with exceptional image performance that is simple to operate, reliable in even the most extreme environments and versatile enough to cover a wide range of workflow and budget requirements. Whether your production is destined for the cinema or television, ALEXA will empower you to tell your story in exactly the way you think it should be told, with pictures of breath-taking richness and detail.

    The original ALEXA comes with a 16:9 sensor and the original SxS Module that accepts two SxS PRO cards for recording in-camera ProRes or DNxHD. ARRIRAW recording is possible with an external recorder.

    Sony PMW-F55 CineAlta 4K Cinema Camera

    The PMW-F55 CineAlta camera shoots spectacular images with its 8.9 megapixels (effective) Sony 4K image sensor. You get superb dynamic range, the widest colour gamut, and pristine image quality, whether you shoot in HD, 2K or 4K.

    Multiple recording formats includes HD/2K/4K on SxS memory and 16-bit RAW 2K/4K on AXSM media.

    Multiple recording formats include MPEG-2 HD422, MPEG4 SSTP, XAVC 2K/HD, XAVC QFHD/4K and 16-bit RAW 2K/4K. You can have simultaneous recording on internal high-speed SxS PRO+ memory cards and RAW 2K/4K recording on sleek AXSM memory cards using the optional bolt-on AXS-R5 recorder, designed specifically to attach seamlessly to the F55 and F5 cameras. There is also high speed shooting up to 240 fps RAW 2K and 60 fps in RAW 4K recording onto the AXS-R5.

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