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Broadcast Equipment Blog | 3D Broadcast Sales

  • New from Rode at #IBC2015

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    • VideoMicro - the VideoMicro is a new entry level VideoMic, only 80mm in length and very inexpensive, yet features a metal body and includes Rycote Lyre shock mount and a furry windshield. Sounds incredible for the money, doesn’t need a battery, switchless operation etc.

    • VideoMic Me - VideoMic Me is a shotgun mic for smartphones. Plug and play via TRRS it’s compatible with iPhone & iPad and a range of Android and Windows mobile phones. Features a play through headphone jack, and includes furry windshield.

    • RØDELink TX-XLR/Newsshooter Kit – This is the XLR adaptor for RØDELink wireless system. It will ship by itself (for people that already own the Filmmaker kit) as well as a part of the Newsshooter kit (pairs it with the RX-CAM camera mounted receiver). Runs off of 2 x AA, USB or you can plug in the standard Sony battery (NP series) that everyone uses to power their camera accessories.

    • i-XLR – It’s an iOS Lightning to XLR preamp/adapter. 3m lightning cable that terminates in a little XLR box with headphone monitoring and a nice little record button and status LED that will talk to a new RØDE Recording app. No phantom power, but pairs with dynamic microphones (theres a +20dB boost for low output mics) or RØDE’s self-phantom powering NTG2 and NTG4+ perfectly.

    • Micro Boompole Pro - this is a super thin yet strong boom ‘stick’ that connects in three parts to 2.2m long. Only 150gm and super portable – designed for use in confined spaces.

    • Boompole Pro – A new flagship RØDE pro pole at a great price. 100% carbon fibre, up to 3m and only 530gm.

  • Panasonic Camcorder's initial prosumer introduced at CES 2015

    Seeing as it's 2015 and other companies have been constricting their camcorder product lines for many years now, Panasonic's taster of at least 7 camcorders at CES is quite extraordinary. These models will be accessible in the US, while four other similar models will also emerge in other regions, they have an ‘M’ in their model names which indicates that they integrate 16GB of built-in memory.

    At the top tier of its consumer line is the WX970, the firm's first consumer 4K -- UHD, 2160/30p model, cautiously priced at around £652. Panasonic's next 4K step-up is the £2,700 HC-X1000, and the 3-chip HD X920 stays in the range too. It's not the only 4K model though, it's also joined by the VX870, which will be roughly £587. Both models integrate a 1/2.3-inch BSI sensor, and they're also armed with 20X f1.8 Leica Dicomar lenses.

    The VX870 differs from the WX970 only by the lack of a second camera for shooting picture-in-picture footage, the Twin Camera feature that Panasonic revealed last year. It does support Wireless Twin Camera though, which is what Panasonic calls the distinctive new ability of using a Wi-Fi connected phone or tablet as an additional camera. Wireless Twin Camera support will be accessible in many, but not all of the new Panasonic camcorders. One sad oversight from all of the 4K models is an electronic viewfinder.

    Panasonic adds an interesting new highlight to several of the lower end models, which HDR Movie mode. Comparable to multiple-exposure HDR stills, HDR Movie concurrently records two exposures at altered shutter speeds, then combines them with enhanced highlight and shadow areas. While it won't work well in some circumstances, particularly those with very fast action, and only works in HD, it's an original method to compensating for the inclination of consumer cameras to blow out highlights and clip shadows.

    Panasonic also asserts faster autofocus using an original lens drive based on the Lightspeed AF utilised in its point-and-shoots camcorders.

    As for the rest of the camcorders, which range in price up to $600 (No UK price so far), it's somewhat irritating that Panasonic makes you select between either having the Twin Camera option (V770/V760) or the HDR Movie features (W570). Perhaps they’ll combine these features in the future, as this is its first outing on the market, we can forgive it for that for now.

  • Discover our ultra HD 4K broadcast cameras

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

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

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

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

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

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

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

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

  • The new broadcast camera and broadcast lenses at the Fujifilm 4K day event

    Broadcast CameraCamera lens manufacturer Fujifilm is hosting a 4K Day event partly in an attempt to platform their 4K IS Mini and newest Zoom lenses at the DMPC in California. The event will include guest speakers during the day and also offer opportunities for visitors and camera enthusiasts to try out Fujinon’s newest equipment up close.

    The lenses will be combined together with Sony 4K cameras such as the F55, F65, FS7 and Sony’s newest, the HDC-4300- one of the firm’s true 4K broadcast camera. Attendees to the occasion will also be able to watch live video material and images from the Fuji lenses paired to these Sony cameras, displayed onto the event’s 25 ft. projection screen through the use of Sony’s own modern 4k ultra HD projection equipment.

    Once more, Fujinon will be using their 4K event to showcase their variety of lenses and some of the models that will be on show consist of the Fujinon UA80x9BESM (9 – 720mm) 4K Transmission 80x zoom lens on a Sony HDC-4300 4K broadcast workhorse studio camera, the Fujinon UA22x8BERD (8 – 176mm) 4K ENG 22x zoom lens on the same Sony camera and the Fujinon ZK12x25 (25 – 300mm)  4K PL 12x zoom lens mounted onto a Sony F55 4K broadcast studio camera. In addition to these weighty shooters and lenses, there will also be 7 other 4K Fuji lenses revealed during the course of the day with Cine PL and Broadcast B4 mounts.

    Fujifilm will also be making use of the DMPC event to showcase its IS-mini HDMI 4K and IS-Mini RACK 4K goods. In this way, Fuji is increasing its product line further with accompaniments like a new version of the IS-mini Manager and the two pieces of hardware mentioned above.

    Finally, product experts from Fuji and Sony will also be around at the experience to deliberate the technologies and Fuji’s method of generating ACES colour management workflows from the initial level up to concluding delivery of finished video.

    Here at 3D Broadcast we sell and rent out a huge range of broadcast cameras, including those from Fujifilm, with lenses from Sony too, so you can get one of these perfect setups and kits straight from us.

    It is our aim to offer a complete service, at competitive prices and above all to offer you a pleasant and pleasurable experience when dealing with 3D Broadcast. 3D Broadcast striving for excellence.

  • 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.

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

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

    Buy Professional Video CameraSingle Chip Handheld Camcorders

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

    Three Chip Handheld Camcorders

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

    Entry Level Large Sensor Camcorders

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

    Professional Large Sensor Camcorders

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

    DSLR

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

    Shoulder Mounted Camcorders

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

    Point Of View Camcorders

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

    4k Camcorders

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

  • 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.

    KEY FEATURES

    • 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

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

  • 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.

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

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

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

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

    Video

     

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

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

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