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Broadcast Equipment Blog | 3D Broadcast Sales

  • Our top 5 most popular cinematic camcorders.

    Canon EOS-1D C

    The Canon EOS-1D C is a groundbreaking DSLR for the movie world that offers 4K digital cinema resolution, whilst also retaining the exceptional still camera performance of its EOS-1D X sister camera.

    The EOS-1D C is the most technically advanced EOS DSLR ever made by Canon and is both the first DSLR and the first ever 4K camera to join Canon’s Cinema EOS System for filmmakers. It fuses Canon’s proven video technology and lens heritage with the creativity and depth of the EOS System. Compatible with both Canon’s EF mount range of interchangeable lenses for SLRs and Canon EF mount Cinema Lenses, the EOS-1D C brings movie camera functions into a compact DSLR camera body.

    Blackmagic Micro Studio

    The Blackmagic Micro Studio Camera 4K is an incredibly tiny Ultra HD studio camera that’s perfectly designed for live production. You get a full Ultra HD resolution camera that can be used in HD and Ultra HD video formats and it can be fully controlled from the switcher via the SDI control protocol. Micro Studio Camera 4K includes powerful features such as built in color corrector, talkback, tally indicator, PTZ control output, built in microphones, backup battery, an adaptable MFT lens mount and B4 lens control output. This means Micro Studio Camera 4K is a true studio camera that is dramatically better quality than the biggest and most expensive studio cameras used today.

    Canon XC10 4K

    The XC10 is ready to shoot, you do not require a full blown rig to start shooting. The beauty of the XC10 is it is small and always ready to go!

    Ergonomically and feature wise, it shares many with the Cinema EOS range making it the perfect step from DSLR movie or high end Legria for those who don’t want or can’t afford the jump up to Cinema EOS or those wanting the highest quality 4K/2K movie and stills capability in a small package.

    Canon EOS C300 Mark II

    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.

    Sony NEX-FS100EK

    The NXCAM NEX-FS100EK Super 35mm camcorder has been developed specifically for shooting truly stunning images at low cost. The high sensitivity, large format CMOS sensor is capable of producing full 1920 x 1080 progressive images with shallow depth of field similar to that of a film camera.

    For even more creative flexibility, the NEX-FS100 also enables extended continuous recording and simultaneous recording of HD video footage for instant backup with an HXR-FMU128 Flash Memory Unit. These and other valuable features make this compact, high performance camera ideal for producing everything from low budget commercials, music videos and documentaries to wedding videos.

    3D Broadcast offers professional, impartial and unbiased advice to help you make the right choice when acquiring your chosen cinematic camcorder, and we can also help you with post-production and media distribution solutions.

  • 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.

  • Top 4 Broadcast Lighting Solutions.

    Fiilex K412 Lighting Kit

    "The Kit for All Seasons" The K412 Lighting Kit is a powerful four light kit that will weather the storm. All lights have an amazing IP-24 rating. Each light has Fiilex's patented color tunable technology, so you can quickly match ambient or artificial light. You will be able to work with, or create, complex lighting set-ups with the K412 kit. Complete in a rolling travel case, the kit has two P360EX lights with 400W of equivalent power (uses 90W), and two P180E lights with 200W of equivalent power (uses 40W), four AC Power adapters, four barndoors, three light stands, one cold shoe mount (for P180E), one 15"x15" softbox, and one speedring.

    Kino Flo KIT 139X 12 Mini Flo Kit

    The Mini-Flo System, sometimes called a “car kit,” can be found most often lighting night time car interiors and other small areas. However, over the years, the Mini-Flo’s unique lightweight and colour control features have endeared it to video and broadcast lighting designers as a cool, efficient chin light for speakers at a podium or news anchors in a TV studio.

    The new breed of Mini-Flo is available with single or two-light dimming ballasts, plus a choice of 9” or 12” fixture and lamp sizes.

    Mini-Flo System Highlights: • 1-Lamp remote fixture • Fixture includes Louver and removable Harness • Same fixture takes daylight and tungsten lamps • Light enough to tape to car dashboard • Fixture or Lamp w/ harness runs up to 48 feet (15 meters) from ballast • High-Output, Flicker-free Ballast • Instant-on, dead quiet • Dimming control • Same ballast runs 9" & 12" lamps • UL listed, CE approved.

    Kino Flo ParaZip 200

    The ParaZip 400 and 200 luminaries complement the expanding line of Kino Flo soft light fixtures for television broadcast studios. The sleek ParaZip display a wide, soft beam of incandescent or daylight quality light (CRI 95) that can be dimmed up or down. The ParaZip 400 has switching and dimming controls, the ParaZip 200 features dimming only.

    The traditional ParaZip 400 and 200 Yoke Mount fixtures were designed to allow the yoke brackets to be placed in one of two positions. The additional option is useful when hanging the units in a studio with a low ceiling.

    The new Pole-Op Mount allows the ParaZip to be hung from a pipe grid and adjusted from the ground using a long pole. The fixture includes a yoke with an attached junior pin. The blue cup alters the Pan (left or right) and the white cup alters the Tilt (up or down).

    Fiilex FLXP18O

    The P180E is a on/off camera light that produces an intense specular light. A popular ENG (Electronic News Gathering) light, the P180 can be used as a main, fill, hair or accent light. Add two more and you have a perfect interview lighting set-up (M381 Kit).

    The P180E has a 200W equivalent output, is fully dimmable and color tunable to match daylight or tungsten light sources. The LED technology offers a high CRI (Color Rendering Index), so your colors will look natural and vibrant. The light can be run off AC power, or run off standard broadcast batteries.

    The P180E can handle the weather, it has an IP-24 Rating (International Protection Marking), and can withstand an impressive amount of exposure to direct streams of water such as rain, splashes, and misting. The optional Rain Shield offers the P180E an IP-25 rating for even further weather protection in severe conditions.

  • 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.

  • Buy Professional Camera Batteries

    The best way to get a professional end product is to use professional tools. Professional tools are precisely intended to get the best quality of results. Many folks understand that big ticket items like a video camera or camera lenses are important to invest in. But few really understand how important it is to invest in quality when it comes to small peripheral parts. The truth is that it’s just as important to invest in these small parts as it is to invest in major equipment. For example, many people wouldn’t think to spend much money or give much thought to buying professional camera batteries. But a good professional grade camera battery can contribute more to the quality of filming that most people really know.

    There are many different levels of cameras on the market, and different people have different needs. For example, a professional cameraman might have different needs than an amateur who is simply looking to take a hobby to the next level. But regardless of the level of skill required, there are sure to be specific professional camera batteries that are suited to a specific camera or a specific use. Someone who’s simply pursuing a hobby might be able to get by with a less expensive batter than someone who works as a cameraman for a living.

    When it comes to choosing professional camera batteries, the first step is to evaluate your own needs. Some people need the power to last longer than others do. Others need a lighter battery. And there’s a preference to lower cost. Lithium ion chemistry batteries answer all these requirements. In any case, think about how you’ll be using the camera battery before you make a final decision as to what kind of battery you think you are finally planning to buy.

    It’s important to look at the value of working with a viable video supplier. The supplier staff’s skill offers choice in product and pricing. Find a dealer relationship that works for you in their professionalism, high response and ability to meet your needs.
    It is our aim at 3D Broadcast to offer a complete service, at competitive prices and above all to offer you a pleasant and pleasurable experience when dealing the purchase of professional camera batteries and lots of other equipment from 3D Broadcast.

  • Audio Broadcast Equipment: Looking to Start your Own Radio Station?

    Starting up an FM, satellite, or DAP radio station requires a lot of things, including licensing, soundproofed studios, audio broadcast equipment, some capital, knowledge on music royalties, and a good business plan. But sometimes, the thought of going through the lengthy process of setting up an FM radio station can be overwhelming. Why not consider broadcasting over the internet instead?

    How to Start Your Own Internet Radio Station

    Starting a conventional radio station is capital intensive, which puts it out of reach for most people. Internet radio, on the other hand, works across standard broadband connections, though it is much cheaper and easier to set up, making it possible for any serious person to start a broadcast. Today, there are numerous stations accessible online, from conventional channels playing only music to those focused on political and social issues.

    How Does it Work?

    Unlike traditional radio, internet radio originates from a computer, which creates an audio stream from any music or sound originating from your end. This audio stream is then converted to data before it is sent along your internet connection to a server for distribution. This distribution server is another very powerful computer with a super fast internet connection, possibly located in a data centre, and has the capability to relay or distribute the stream to other users across the globe. Any listener tuning into your radio station essentially connects to the distribution server in order to receive programming.

    That said, there are three primary categories of internet radio that you can choose:

    1. Live streaming service. To start this service, you would need a studio with the basic equipment, including a computer system, headphones, microphone, CD, and mixing desk, as well as a connection to an internet streaming server to convert the output of your studio into a stream, as discussed earlier. You can host the streaming (distribution) server yourself, or you can register with a third party streaming radio server.

    2. Pre-recorded or part-live service. This option frees you from having to run a 24-hour a day live service. Usually, you have to automate your station using clips from recent editions of your podcast, which are then streamed to your listeners across the globe.

    3. Podcasting. For this option, you need to record a sequence of radio shows, and then distribute them as podcasts. Your listeners across the globe can then download your shows automatically and listen to them at their own time.

    Podcasts are growing in popularity, as they are the easiest way for people to get their voices out there. Whichever option of internet radio station you choose, there are a few things you need to consider, including:

    • Hardware: Basic audio broadcast equipment plus a PC, microphone, and servers.
    • Podcast bandwidth: You have to host your podcasts or audio streams somewhere, which is usually a premium service offered by hosting providers.
    • Music licenses: You need a music license before you can play music on radio, even internet radio. Playing copyrighted music without a license can lead to substantial fines. To qualify as a small online radio, you must meet the requirements for licensing given by bodies such as PPL, or PRS for Music.
    • Topics to discuss: Make your pick, but you must make it interesting to your target demographic in order to build up a listener base. It helps to be knowledgeable in the niche you choose, and you’ll want to keep your topics timely and relevant.
    • Funding: Advertising and affiliate deals for products discussed are great revenue streams.

    Lastly, it is important that you use suitable audio broadcasting equipment, as this can help your new internet radio station present a professional image with high-quality audio.

  • Production on the Go With Blackmagic Pocket Cinema Camera

    Once not so long ago, the pocket camera was a pretty popular implement. First it was in the form of the trusty old 110mm camera, then the popular yet wasteful disposable camera, and then the much more useful and user-friendly pocket digital camera. But the reign of the digital pocket camera was to be a short one, rapidly usurped a few short years after its introduction by the explosion in popularity of camera phones. Soon enough, those would give way to high megapixel, multi-camera-equipped smartphones.

    With the ubiquity of smartphones these days, it’s not too frequently that you see someone reaching for their digital pocket camera. More than likely, their phone takes photos that are (as far as they are concerned) just as good. While high quality DSLR cameras are the main tools of modern professional photography, these often have a comparatively bulky form that one certainly couldn't cram into your pocket. However, the Blackmagic Design Pocket Cinema Camera turns this notion on its head.

    The Tiny Gateway To Cinema

    Condensed into a sleek black package that is actually even slimmer than most traditional pocket digital cameras, the Blackmagic spares no expense in terms of available features. Despite its diminutive size, the Blackmagic can take some truly staggeringly high quality video footage and photographs. Enabling professional production quality in one of the most portable packages on the market, the Blackmagic can find itself equally at home in the hands of professionals and hobbyists. It is especially ideal for getting great shots in locations where more traditional and bulky camera gear is not portable enough.

    Able to accommodate Super 16 lenses (thanks to the Super 16 Size Sensor) or Micro Four Thirds lenses (among others), the Blackmagic lends itself to being remarkably versatile and capable of utilising a wide range of different lens types. Offering full electronic control of lenses, the Blackmagic is a breeze to use for operators at all levels of skill.

    True Digital

    Offering a massive 13 stop wide dynamic range, the Blackmagic takes beautiful, true digital cinema quality shots. Allowing you to retain all sensor data, the Blackmagic is a massive versatile and useful production tool. With it, you can save your footage to high quality lossless CinemaDNG RAW or Apple ProRES in 1080HD resolution.

    Recording directly to an SD card, the Blackmagic has the benefit of having virtually unlimited memory — it all depends on how many SD cards you pack along with you. You can easily take out a card and pop in a new one to continue filming. SD cards can also be directly inserted to computers for instant editing, meaning you don't have to sit around waiting for transfers to complete.

    Functional Design

    One concern you might have about a pocket cinema camera is its display, but in this regard, the Blackmagic proves itself exceptional. The brilliant 3.5” LCD lets you monitor your shots in beautiful high resolution and provides more than enough reference to get the job done. With the Blackmagic's elegantly designed back panel, the display takes up the perfect amount of real estate, leaving adequate room for the camera’s concise and intuitive controls.

    Experience the Possibilities

    What can you do with the power of a portable cinema quality camera in your pocket at all times? There is only one way to find out.

  • 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.

  • 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.

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