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Broadcast Equipment Blog | 3D Broadcast Sales

  • Want To Buy Lens Mount Adapters? The Complete Guide

    What do I need to buy lens mount adapters?

    Buying lens mount adapter allows you use one type of brand or lens on a camera for which it was not intended for.

    For instance, Canon users can mount Nikon, Olympus, Contax/Zeiss, and others via the use of a lens mount adapter.

    Why use a lens adapter?

    No company hasBuy Lens Mount Adapters an absolutely "best" collection of lenses. There are constantly a small number of standout lenses in any lens lineup; being able to make of use of these lenses on your branded camera allows you to use those very best lenses, whatever the "best" currently is.

    Landscape photographers or those who habitually use a tripod should ponder hard about the options: on a tripod a manually featured lens is often appropriate, and this opens up the prospects for results with the top lenses from any number of brands.

    Canon EOS customers can use the Nikon-mount Zeiss ZF/ZF.2 line, but as of 2010, almost all of the entire line is now accessible in ZE (Canon) mount. However, a lens mount adapter allows the complete ZF line to be used on a Canon, so when you buy the ZF mount lens, it allows use on both Nikon and Canon body mounts, for those who own both brands, or if you may switch camera brands at  later date.

    When lens adapters do not work.

    Nikon's new "G" series of lenses do not have an aperture ring; the aperture is now controlled electronically. Most lens adapters are simple mechanical devices, but some new adapters include electronic control for G series lenses.

    In other cases there are mechanical obstructions. Some Leica R lenses have a protruding metal part that will hit the mirror of some DSLRs (Do not want!!!). Occasionally, this metal part can sometimes be physically removed by filing it off, other time it’s not worth the effort.

    How many adapters I need?

    It’s recommend that you purchase one adapter for each lens you want to use; otherwise you'll be continually substituting the adapter for another, and you'll need to keep two lens caps on you instead of one. With the lens mount adapter in place, you'll also need a rear lens cap too for the adapter to use.

    Quality issues

    Lens adapters differ widely in class. The most rudimentary ones are cheap aluminium of thin build quality which can lead to your lens not focussing to infinity or being slightly blurry on one side.

    If you want to buy lens mount adapters, you have to be aware too, for the basic models, that they also have poor or no black coating which can flake off. Some of this flaked off paint can get onto the sensor and stay there too, which is another big no-no.

    While the cheap adapters can be had for up to £50, none of them were up to the task. Some of them wouldn't even lock onto the lens properly, which means your lens isn’t being held onto the body correctly, with no positive click sound to ease your mind.

    A good quality lens adapter is all metal. A lens mount adapter must be a robust and precision piece of hardware. This is extremely important when adapting a big and heavy lens. Finally, an even thickness of the mount is vital to especially with wide angle lenses, where the slightest change will blur one side of the image.

  • Where To Find The Best Used Broadcast Equipment

    The used broadcast equipment range at 3D Broadcast

    At 3D Broadcast we stock a great range of used broadcast equipment which is sold as in full working order after being checked and tested by our very own in-house specialists. If you are after camera & camcorder equipment that is just as good as new yet at a much lower price, our used broadcast equipment is for you.

    To find out more about our used broadcast equipment, including guarantees and current condition of the units, please feel free to get in touch with our sales department for more information. For a great range of used camera & camcorder equipment 3D Broadcast is your number one online store.

    If you are looking toUsed Broadcast Equipment cut costs, purchase broadcast equipment that doesn't cost an arm or a leg, or if you are a bit of a reconditioning fanatic, used broadcast camera & camcorder equipment is a fantastic way to get all of the features new broadcast equipment does only it has been used and vouched for by somebody else previously. The advantages of used broadcast equipment are clear; it is discounted a lot more than new equipment, it’s better for the environment than new equipment due to it being re-used and not sent to land fill. Additionally, if serviced correctly it will last for years to come and will last just as long as a new product.

    We use a standard guide to explain the condition of our used broadcast products. If you would favour a more thorough description, please feel free to call us and we’ll chat through it with you over the phone.

    Rest assured that we do take care of our used broadcast equipment. All items are operationally checked, are in good working order and, of course, are covered by our Peace of Mind guarantee.

    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 new and used equipment from big manufactures that comprise of Panasonic, Sony, Canon, and Blackmagic as well as many others.

    It is our main goal to offer a comprehensive service, at viable prices and above all to offer you a pleasing and satisfying experience when dealing with 3D Broadcast.

    We are based in Pinewood Studios which is located 20 miles from Soho and just 8 miles from Heathrow, it is also close to the M4, M25 and M40 giving direct access to other major UK cities and a multitude of UK locations.

  • 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.

  • The New Fujifilm Broadcast Lens

    Discover the new  Fujifilm broadcast lens that brags a remarkable 99x zoom competency

    Even if you've paid upwards of nearly £10,000 on your new DSLR kit, even with a huge telephoto lens, it still won't be able to contest with the gear utilised for professional TV broadcasts. Predominantly when it comes to sports. In December, Fujifilm released an amazing new wide angle broadcast lens that brags a remarkable 99x zoom competency.

    In respect ofBroadcast Lens figures, the lens has an unbelievably wide work array. It's able to go as wide as 8.4 millimetres, and zoom in as far as 832 millimetres. So it's just as proficient at following the action on a tennis match or football game as it is zooming into the back of the stands to get a view of the punters up the back. Plus, when the tens of thousands of fans in the stadium get a little too enthusiastic, the broadcast lens's advanced image stabilisation hardware keeps the image firm and steady even when you’re zoomed in all the way.

    In addition, and because no broadcasted sport occasion is whole these days without the 3d CG enhancements we get overlaid onto our screens, along with the ads inserted onto any flat surface, Fujifilm's new broadcast lens contains a 16-bit encoder to yield real-time lens data such as zoom and focus information. This data can then be fed into the broadcaster’s graphics desk guaranteeing that the superimposed graphics look as realistic on-screen as they can, no matter what the camera is pointing at.

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

    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 equipment 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, at competitive prices and above all to offer you a pleasant and pleasurable experience when dealing with 3D Broadcast. 3D Broadcast striving for excellence.

  • The Latest Sony Professional Camcorders

    Sony’s PXW-FS5 is another camera and manufacturing member of Sony’s latest addition to the world of compacted professional camcorders and it does an absolutely spectacular job of it. This particular model packs a huge punch for its small size. With some excellent perks, excellent flexibility and really professional production quality in its photos and video specifically, the 4K-capable PXW-FS5 is a multipurpose grab-and-shoot camcorder that’s ideal for pros who require some serious yet still lightweight hardware to carry for when they’re on the go and need to be quick on their feet.

    The PXW-FS5 can capture some outstanding quality footage even if you’re in some of the most problematic shooting conditions, and it creates both spectacular video and delightfully sharp still images too. Also, the imaginative in-camera editing facets which go together with the PXW-FS5’s technology are surprisingly powerful.

    This is certainly a camcorder with very few flaws and will make a superb choice as a professional camcorder for anyone who requires shooting quality on location which is of a high calibre. The FS5 is also an outstanding choice for many professional corporate, documentary, movie and online video production uses.

    Professional Camcorders

    This camera comes with a 4K UHD high definition Super35 Exmor CMOS sensor with a complement of 11.6 million pixels and 8.3 million effective pixels, and the quality fashioned within the footage as a result is superb with video specifically. Details are captured that otherwise wouldn’t be visible on those 1080p video professional camcorders when played back, and the fully integrated, large size, and sensitivity of the powerful sensor gives you some great shallow depth and superb low light shooting ability with very low noise levels. Part of the cause for this is the presence of what seems to be one equally brilliant image handling engine as the native ISO in this professional camcorder isn’t actually that high but low light shots still come out looking fabulous regardless.

    The Sony PXW-FS5 / FS5K Super 35 4K UHD professional camcorder comes out on top as a 4K UHD professional camcorder for professional level shooting. Its specifications are resourceful and robust, the quality of its 4K UHD video and Full HD video is very good indeed and on the whole, this compact professional camcorder gives you some of the best Super 35mm camera footage you can get in the marketplace in the price bracket. The very minor defects it possesses are not really worth mentioning so the FS5 is strongly recommended for anybody who wants to do some important video recording in difficult, prolonged field settings while being safe in the knowledge that their footage will come out on top.

  • Here’s why mobile phones won't ever replace professional cameras

    We all know of the ever popular iPhone 6 and its big brother the 6 Plus. It’s impressive to say the least, as are most other flagship phones on the market. The iPhone has a backside illuminated sensor, an f/2.2 lens, and optical image stabilization, but all of that is wasted if Apple or any other firm put these features in, in an attempt to encroach on the DSLR market.

    Professional Cameras

    These flagship phone cameras are fast, quick to respond, it takes usually good images, and most significantly, allows me to share them rapidly and effortlessly.

    Most professional photographers these days will have something like a 5D Mark III or it’s Nikon equivalent. It’s a very decent professional camera, it’s adaptable, can deal with any lighting (or lack of) that’s thrown at it, and you can count on it to get the shot you want if handled correctly.

    With the increase of smartphones, many have lamented or cheered for the death of the DSLR, banishing it to antiquity with its celluloid brothers. It’s difficult to remember the last time a professional photographer was seen using just a smartphone in the field though. That doesn’t mean there weren’t a ton of more smartphones outnumbering the DSLRs in London’s parks or museums, but great quantity does not indicate superiority.

    No matter how astonishing technology gets, there are some ultimate restrictions that will always be in the way for smartphones, and that is sensor size.

    Larger sensors are generally superior sensors. They can collect more light and give more control over the depth of field. The sensor in a 5D Mark III is 50x times than the iPhone too. That large sensor lets you capture images that are physically impossible with a phone.

    DSLRs also feature interchangeable lenses. Phone producers have to find the balance between wide-angle and telephoto and often, the telephoto side loses. On top of this, the autofocus capabilities of modern high-level professional cameras are simply unparalleled by smartphones.

    One often ignored aspect is the ergonomics of professional cameras against smartphones. The modern smartphone is destined to cover countless of jobs that used to be set aside for separate devices. It’s problematic and slightly cumbersome to hold a smartphone in front of you, and frame your shot via a live view through a screen. A well-designed professional camera fits into your hand. Inside of a few snaps, the buttons are instinctively at your fingertips and you can fine-tune almost any function minus the need to ever take your eye away from the viewfinder. It allows for uninterrupted creative flow.

  • How To Buy Camera Adapters to make your camera system more flexible

    Whether you want to try lenses from another producer or want to put your old trusted glass to good use, lens adapters come to the rescue.

    Want to buy camera adapters to make your camera system even more flexible? Buying a lens adapter can open your world to an array of alternatives—whether the glass you crave is bizarre, classic, or simply no longer made. These magic rings can make many lenses fit on cameras they weren’t made for.

    ag-ca300gLens adapters allow you to use a variety of wonderful alternative lenses—including some truly exotic optics and some classics that are so exceptional that you may wonder why they aren’t still made. Although the lenses made for your camera may be great, having options is nice.

    If you are planning to buy camera adapters, you have to know that Camera lens adapters are usually quite basic, comprising of nothing more than a deliberately constructed ring that sits between your lens and your camera. One end is intended to accept a precise form of lens, and the other end is intended to fit the camera. Usually, there is no communications function to permit the lens to send data to the camera, so lenses with electronic chips, which notably control autofocus and auto aperture, will not work when the lens is mounted onto the camera adapter. You will have to focus the lens manually and physically stop down the aperture before shooting to get the correct aperture. The lens adapter will also disable EXIF data from getting to the camera as well via the same means.

    Some slightly more expensive adapters include a focus validation chip that allows the camera lens to signal when a subject is in focus, usually using a distinct beep or sometimes an icon displayed in the viewfinder itself.

    Regrettably, not every lens is adjustable to fit every camera system obviously. If you want to buy camera adapters you have to be aware that they are made for use with older lenses that have manual aperture, which must be attuned precisely by the operator. Many modern day cheaper lenses only have electronic aperture control instead in order to reduce cost to the customer, which means that the lens sadly cannot ever work on other cameras. The good news is that adapter producers have worked around this problem by counting on new a physical actuator for the lens aperture built into the adapter. You still have to physically set the aperture, but only by adjusting the adapter now, and not the lens itself.

    Since adapted lenses terminate many of your camera’s automatic features, they may slow down your overall workflow in the field, and consequently may not be suitable for certain uses, such as sporting events or wildlife photography which require a sharp mind and event sharper index fingers. However, landscapes, construction, and other subjects that don’t rely profoundly on autofocus are well-suited to camera lens adapters.

  • The blackmagic camera helps capture the action for the new Rush Hour TV series

    Cinematographer Christian Sebaldt, ASC, DP is using the Blackmagic PL-mount Cinema Cameras to capture action, stunt and car sections for the new Rush Hour TV show, which is a remake of the Rush Hour film licence. The series charts an L.A. cop teamed up with an investigator from Hong Kong.

    Blackmagic CameraSebaldt, who has filmed shows and films such as CSI, and Resident Evil: Apocalypse, swaps episodes with another DP, Marshall Adams, ASC on throughout the series.

    We shoot a bunch of up close action scenes – acts with the performers moving, fighting, getting thrown around and jumping on and off moving vehicles. So we need a good quality camera that can get us lively shots, but that also is undersized and light enough to be equipped in cars or close to the actors.” Every episode has fight arrangements and stunts and the Blackmagic camera is used in most of them.

    One of the fresh scenes filmed with the Blackmagic Camera was an extreme car action scene taking place inside a car park in Los Angeles. Numerous stuntmen, as well as the show’s lead performer, were flung into a nerve-wracking scene that involved one of the heroes jumping onto the bonnet of a moving vehicle with two bad guys trying their best to shake him off.

    The crew built a combination of hand-held rigs and also mounted the cameras to numerous points on the exterior of the cars. The cameras were really right on top of the actors, very close range. As they are so solid and yet compact, and very high quality, the camera crew were able to get right up close to the action. One particular scene took almost four hours to film and there’s no simple way for it to have been done with cameras which were bigger and heavier than the blackmagic camera. It would have been any other camera a lot longer to deem safe to work with and implement into the sequences, if at all.

    Beyond the fighting scenes, the rush hour DP also made use of the Blackmagic cameras frequently for interior car shooting, as well as with any takes done in very tight spaces where a bigger camera could never fit.

    “The Blackmagic camera gave us astonishing images, and our grips and rigging guys love that they can set them up wherever without getting in the way of the acting,” the DP added. “Based on our early camera tests and the use on the series, we now have the self-assurance to use the cameras where desired.”

  • Will the new professional cameras be pocket-sized devices?

    This new strange looking camera is a whole new take on taking professional quality images.

    Professional Cameras

    You’ll probably never see professional cameras that looks like this. Its flat black appearance is like the face of some those insects from a David Attenborough documentary. It’s called the Light L16, and it may not look the part as a photographic tool, but it plans to achieve the impossible, which is professional quality in an (nearly) pocket-sized device.

    With most cameras, in order to increase image superiority, you have to also increase the size of the digital sensor. The best professional cameras have the largest sensors, approximately the size of a 35mm film frame. The tricky thing is that large sensors are very costly. Furthermore, they require huge lenses too, which make for very large and heavy professional cameras.

    The Light L16 works in an unusual way. Inspired by the slight and cheap smartphone sensors we all have in our pockets, the device includes 16 completely separate sensor and lens modules. They each take separate images at various different focal lengths, and are joined together to create one big image consisting of 52 megapixels. The lenses range from 35-150mm in focal length.

    The team behind the bug eyed camera are claiming that in addition to resolution, the camera performs astonishingly in low light, and yields detail that is even sharper than professional DSLRs. While it’s unfeasible to draw any deductions from an incomplete set of pre-picked photos, impressions seem to be that image quality is certainly tremendous.

    Image quality is only part of the package though. With so much info being picked up by multiple lenses, Light L16 gives you the choice of controlling depth of field after you capture your photo. A touchscreen on the back of the camera will let you pick what parts of your image are in focus, in a similar fashion to the witchcraft technology of the Lytro camera from a while ago now.

    Photographers are particular about their workflow though. It has to be fast, and it has to be supple. If a device like the L16 restricts the way you can capture images, whether because of limitations in shutter speed, processing period, or output setup, it will be a hard sell for individuals accustomed to their traditional workflows.

    It’s incredibly cool to see people reinvent a gadget that has remained unusually static for so many long years though. This fascinating piece of kit will no doubt be one of many such efforts to ever change our idea of photography.

  • Panasonic announces 4K large-sensor handheld camcorder

    Panasonic has publicised that its new AG-DVX200PJ 4K large-sensor, 4/3-inch handheld camcorder will commence deliveries in October/ November of this year, with an RRP of just over £3,000. This is the first of Panasonic’s new wave of large sensor, multi-format professional handheld camcorders which are capable of capturing 4K/UHD, HD and SD.

    Handheld Camcorders

    Contributing a range of features that contain 4K/24p and 1080/60p footage, a V-Log L gamma curve and included 13x optical zoom lens, the DVX200PJ will shine in documentary, reality television and event production, and offer a reasonably priced second-unit camera in 4K film cinematography too.

    The handheld 4K camcorder gives you an array of expert features including a newly made Leica Dicomar 4K f 2.8/4.5 zoom lens with shallow depth-of-field, time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outs (4:2:2 10-bit video), dual XLR audio ports and 10 customisable user buttons.

    The handheld camcorder will record 4K (4096 x 2160)/24p, UHD (3840 x 2160)/HD (1920x 1080) 59.94p/50p/30p/25p/23.98p in both MP4 or MOV formats too. With two SD card slots, the camcorder enables relay, concurrent, background and dual codec recording. Dual codec recording permits real-time capture of UHD 30p and FHD, or FHD and FHD low bit rates, which basically yields master and offline/proxy versions of the footage.

    The new Leica Dicomar 4K zoom lens with an f 2.8 aperture is an ideal choice for 4K video, with the capacity to produce brilliant imagery and subtle bokeh too. Leica’s lens is intended to keep the amount of ghosting and flare to a minimum. Since the DVX200PJ is an incorporated lens camcorder, there is no need to do flange back adjustments or shading alterations when shifting lenses. The camcorder will work in flexible shooting uses that necessitate mounting on today’s prevalent steadied camera rigs too.

    The camcorder includes an improved Optical Image Stabilizer with a five-axis hybrid Image Stabilizer and 4x expansion of the correction accurateness, producing clear images without distorting. The Intelligent Auto Focus system features a new micro-drive focus unit that increases focus speed, tracking and capture function, and enables smooth, fast focus tracking for 4K video and shallow depth-of-field. The Intelligent AF system, with touch area selection, can be modified for speed, sensitivity and object scope.

    Three manual operation lens rings which control the zoom, focus, and iris, provide a comfortable manual control comparable to an interchangeable lens camera, but minus the need for actual lens changes. The zoom ring’s solid feel and smooth stroke allow subtle, slow zooming. In addition, the camcorder’s multi-step zoom controller delivers fast response and smooth zoom action. The zoom controller on the handle allows adjustable speed zoom, allowing fine zoom control even for low angle shots.

    The DVX200PJ works straight out of the box its integrated lens, viewfinder and included battery, the only thing it needs is the optional SD cards.

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