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Broadcast Equipment Blog | 3D Broadcast Sales

  • 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 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

  • Everything you need to know about our Blackmagic Camera

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

    Above and beyond the great image results, it's worth noting the excellent workflow options with multiple recording and live signal options. Blackmagic 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.


    • Ultra HD 3840 x 2160 resolution
    • ProRes 422 (HQ) recording
    • Super 35 sensor
    • Global shutter
    • EF and ZE compatible lens mount
    • Built-in SSD recorder
    • 5-inch LCD touchscreen
    • Metadata entry
    • 6G-SDI output for 10-bit HD and Ultra HD

    Blackmagic Camera The latest high end televisions and video projectors support Ultra HD which is four times the resolution of 1080 HD. The Blackmagic Production Camera 4K creates visually lossless compressed CinemaDNG RAW and ProRes 422 (HQ) files that are perfect for editin
    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 Blackmagic Production Camera 4K features a single 6G-SDI output for incredible Ultra HD live production.

    With a large Super 35 size sensor you get familiar framing and behaviour from the lenses you already own! The sensor features a global shuttr 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.

    Blackmagic Production Camera 4K uses standard connections, so you never need to source custom cables! It includes a 6G-SDIconnection for Ultra HD resolution or down converted HD output over a single SDI cable. The built in Thunderbolt connection lets you plug into a laptop computer and use the included UltraScope software for real time waveform monitoring. There are 1/4” jack mic/line inputs for recording the highest quality uncompressed audio, plus a 12V to 30V DC input, a 3.5mm headphone input socket and LANC remote control!

    Blackmagic has fashioned another step forward in their cameras. The professional recording formats give you the leeway for hefty post-processing. If you are a creator that needs to upgrade to 4K and are tight on cash, the Blackmagic Production Camera 4K yields images that simply can't be beaten.

  • SmallHD Firmware 2.0 Update for 500 Series Monitors

     Firmware 2.0 Update for 500 Series Monitors






    Small HD have released firmware update 2.0 for the 500 series monitors & sidefinder. Details and download links can be found here:

  • Buy Professional Film Cranes and Jibs: 3D Broadcast Guide

    Here at 3D Broadcast we offer our customers great prices on our professional grade film cranes and jibs. Professional filmmakers use our website because they know that they are only going t o be shown the very best quality tools for their job, no cheap quality kit which will not last. With 3D broadcast you can rest assured you’ll be getting the professional film cranes and jibs you require for your project. Here is a selection of our best selling and most popular products in the cranes and jibs section of our site:


    Alphatron JIB-EPT Lightweight JIB Support

    3d_alpha_jibThe lightweight Alphatron JIB-EPT provides a steady camera platform for the professional videographer, with optimum ease in use and setting up. The short assembling time of ten minutes makes this product ideal for sports, corporate video, festivals and other live enterainment. The JIB is delivered as a kit, with the boom, dolly, UTP cable, EPT and remote control included. The kit is partly mounted and is modular extended and thus usable in four different set-ups, with a maximum range of 210 cm (82.7 inch) measured from the JIB’s supporting point. The Alphatron JIB EPT includes a remote controlled Electronic Pan and Tilt (EPT) head, developed for cameras up to 8 kg (17.5 lbs). The head is connected with a standard 5 meter UTP cable and can also be used with optional battery power. Its motor-driven controls allow for over 360 degrees rotation of unobstructed pan and tilt with two speed possibilities. Durable motors assure a long and reliable life.


    ABC 8316-0 (83160) Traveller Robust Remote Crane

    3d_abc_traveller__11889The robust Remote-Crane with All-rounder Qualities DV/HDV. Cameras up to 7.5kg

    Extremely short assembling times! (Complete assembly in approx. of 1 minutes!
    Wired rigs are separately coloured – no danger of mix-up!
    3 different assembly lengths including extensible bracket rig (small/medium/large)
    Universaly deployable indoor (short tower tube) and outdoor for high flexibility
    Upgradable with light ABC - Remote Head V5 (incl. adapter plate D80) allows both pan and tilt with a 360 degree radius! Please check camera weight!


    ABC 8313-0 (83130) Speedy 6 The successful Broadcast-Crane

    3d_abc_speedy_crane__46044Speedy 6 The successful Broadcast-Crane DV/HDV/HD Camera up to 13kg

    Extremel short assembling times! (Complete assembly in approx. 10 minutes!)
    Base-located hand grip for continuous adjustment of the crane-head angle!
    Pin for fixed horizontal position when using a Remote Head
    Wired rigs are separately coloured – no danger of mix-up!
    3 different assembly lengths including extensible bracket rig (small/medium/large)
    Universal deployable for high flexibility
    Upgradeable with light ABC - Remote Head “V5” at DV/HDV-Camcorder allows both pan and tilt with a 360 degree vertical and horizontal. Please check camera weight!


    ABC 2114-0 (21140) Movie Jib kit including Tripod

    3d_abc_movie_jib__60373Movie Jib – consistently lightweight and incredibly flexible. The variable extension length of the new MovieJib can be adjusted in seconds without any need for tools. Balancing the crane with the counterweights is very simple, thanks to the self-locking crank mechanism. Functional design details such as comfortable handgrips and a horizontal and vertical brake enable precise working. Also available in "silver" The fluid head adapter on the crane head can be set to various positions. This delivers greater mobility and allows the flexible use of accessory parts.

  • 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.

    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.








    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.

    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.











    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










    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.









    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.

  • Black magic camera new features

    At the 2012 NAB Show, the Black Magic announced the
    , featuring exchangeable EF mount lenses. The 2.5K sensor allows adequate oversampling for clean 1080p or 2K output and was announced to have a dynamic range of 13 stops.

    Due to popular demand Black Magic Design announced (in 2012) they would add a passive Micro-Four-Thirds (MFT) mount to their line of Cinema Cameras. This would allow adopters to use an excess of MFT lenses, made by Olympus and Panasonic. In 2014 Black Magic Design announced a production friendly PL-Mount version of the Cinema Camera.

    The camera records to conventional PC 2.5" solid state drives, in either RAW DNG or Apple ProRes and Avid DNxHD lossy presentations. Together with a few buttons the camera is accessed via its touchscree
    n display. Another version of the camera with a passive Micro Four Thirds system lens mount was then announced for December 2012, and started to ship in early summer 2013.

    At NAB 2013, Black Magic Design announced the Production Camera 4K, the first of their line of cameras to support 4K. The new full-size camera sensor allows for the full 4K resolution at 30 frames per second. The camera also includes a flexible video output via the world's first 6G-SDI connection. Black Magic also announced a line of 4K products to accompany its release. Among othimgresser new features are a larger Super 35mm sized sensor and a global shutter.

    Compared to the original 2.5K Cinema Camera some of the technical specifications are slightly inferior. The Camera's sensor is rated natively at 400 ISO as opposed to 800 ISO for the first Cinema Camera, and displays slightly more noise in the image at its maximum ISO setting of 800 than the first Cinema Camera does as ISO 1600. The Production Camera also has 12 stops of usable dynamic range compared to 13 stops for the Cinema Camera, specifically losing detail in highlights. These compromises came with the ability to shoot 4k and still make it fit in a similar form factor.

    Alongside the Production Camera 4K, Black Magic then announced the Black Magic Pocket Cinema Camera, a highly compact camera which records to SD cards in digital Super-16 1080p RAW or ProRes, has 13 stops of dynamic range, and is compatible with active MFT mount lenses. The camera has 12.48mm x 7.02mm Super 16mm image sensor, which is about 36% of MFT sensor size.

  • Blackmagic cinema camera features

    The Blackmagic Design Cinema Camera includes a 2.5K image sensor, 13 stops of dynamic range, and a Canon EF lens mount. It is capable of recording 12-bit CinemaDNG RAW files at full 2.5K (2432 x 1366) resolution, as well as 10-bit Apple ProRes and Avid DNxHD formats at 1080p. The cinematic camera records to removable 2.5" SSDs, which allow the high data rates required for RAW and ProRes HQ recording.

    The cinematic camera is housed in a sophisticated, simple enclosure, crafted from a single block of aluminium. The Canon EF lens mount presents compatibility with Canon EF, Zeiss ZE, and other third party EF mount lenses. Footage is observed and settings are adjusted using the l17 04 20121334649608timelessarge 5" rear LCD touchscreen. The touchscreen also lets you effortlessly add metadata to your shots, such as shot number, filenames, and keywords, which can save time and money in the post-production route.

    To handle the high data video output, Blackmagic includes a full version of DaVinci Resolve, its premier colour correcting software for Mac and Windows. Also included is a copy of UltraScope. When connected to a computer via Thunderbolt, the software provides strictly accurate waveform monitoring, demonstrating six live scope views on a single monitor.

    Dynamic Range

    Captures a super wide dynamic range of 13 stops into 12-bit DNG files for a true cinema look, offering more flexibility in your shooting locations. Also it preserves detail in both shadows and highlights, and even handles indoor shots while keeping the details of any images captured through windows, and allows for keeping all sensor data and enhancing the creative decisions during DaVinci Resolve colour grading.

    EF Lens Mount

    The Canon EF compatible lens mount lets you use Canon's extensive line of EF lenses, Zeiss ZE lenses, as well as third party EF mount lenses. The active mount enables full electronic control with compatible EF mount lenses.

    Capacitive Touchscreen Display

    The five-inch touchscreen allows for setting up a shot, as well as playback from the SSD using the transport control buttons below the screen. You can enter shot data and update the camera's settings using the capacitive touchscreen display. Also control the camera's operating functions with a simple touch of the screen, just double tap to zoom the image for fast and accurate focus. Additionally a data strip provides you valuable information including record status, shutter angle, ISO, battery level, record time and more.

  • 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.

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