Wimbledon 2012 sees File-based 3D Operation for First Time


This is a guest blog from 3D Broadcast Sales.


As a well-established business we at  3D Broadcast Sales have over 35 years worth of experience in selling 3D broadcast tools to the broadcast and corporate market place. Now more than ever, broadcasters are moving away from tape and are instead adopting the transition to file-based workflow systems.

Every single year when the time of Wimbledon arrives the world’s attention falls on the UK, lapping up some amazing tennis from all of the world’s very best tennis players. Now every single year of being televised Wimbledon has been great however in 2011 we saw the tournament get 3D broadcasting for the very first time from the BBC, of which won numerous industry awards. In total, around 18,000 UK viewers watched Wimbledon in 3D in 2011, with the 2012 numbers expected to exceed this.

This 2012 then there has to be something equally as impressive within the broadcast industry in order to make this years’ tournament as impressive as ever, and we recently got wind of something that has happened.

All of this comes from CAN in partnership with Sony, who have seen fit to adopt some of the very latest innovations in the broadcast production industry. Of course, we are talking about ditching the tape here in favour of a more advanced file-based system, and as such Wimbledon 2012 is the first ever tournament to see this advancement.

Sony has ditched the tape for a fully working system it has developed called HDCAM SR Master Technology which allows for all data to be recorded and saved to the highest quality as physically possible.

On this latest advancement in 3D broadcast production, CAN’s Duncan Humphreys said: “Last year’s 3D production ran incredibly smoothly which allowed us to concentrate on the production values of the coverage and on the creative aspects of telling the story of the 2011 Championships. This year we will again be looking to heighten the viewer’s experience of the event and give them a true on court perspective of the tournament.”

So far numerous television networks around the world have announced their intentions to broadcast this live 3D feed to people around the world.

Ditching the tape and opting for a more advanced file-based system is nothing new. Currently, hundreds of production companies across the UK have adopted a file-based system replacing tape, and to simplify this to the average consumer image this; when was the last time you saw anybody use a traditional film camera over a digital one? It is that advancement that is not only happening on a consumer level but is also making its way down the professional broadcast level also.
At 3D Broadcast Sales we stock a solid range of high quality 3D Broadcast tools to suit any production need. In terms of ditching the tape, check out our AJA Ki Pro Rack which features 10-bit full raster recording, RS-422 control, an easy to use control system and dual media drives with built-in FireWire 800 connection.

To find out more about how 3D Broadcast Sales can help your production needs, simply contact us.

Black Magic Cinema Camera


Hot off the heels of the exciting news about the digital Bolex and then Sony releasing about 3 new cameras in a week, namely the NEX-FS700, PMW-100 and HXR-NX30E (which has a built in projector!) I will be having a quick roundup of some new Sony technology in the next barnesytv blog post.

All this exciting news has been over shadowed by the announcement of the Black Magic Cinema Camera.

black magic cinema camera
Black Magic Cinema Camera

It is a game changing camera at a crazy low price. In fact they have actually lowered the price since I ordered it from £1925 to £1811.76 those very nice creative video people!

As with the digital bolex the camera shoots 13 stops of latitude and the option of DNXHD ProRes or raw, something that we have all wanted but only been available on RED, ARRI and other top level expensive cameras. It has been enjoyed by still photographers and timelapse junkies for ages, they are spoilt as they can virtually shoot any resolution they want in RAW and with HDR to get amazingly stunning cinematography. Us mortals that require to shoot 24 to 30 HD frames a second all day are generally denied the luxury of RAW.Not now, enter the …. I am sorry I can’t keep calling it the Black Magic Cinema Camera, maybe Barnesycam as referred to in my other blog, here I’ll use BMCC.

With the arrival of the BMCC many of camera enthusiasts wishes have been delivered, I can’t wait to get shots from this into the edit suites and see the sublime pictures.

Remember Bolex, what about a digital one!


What an interesting project, you can support these guys through kick starter or check them out on their website www.digitalbolex.com.

It would be great to grade RAW from this camera, I hope it happens and we get some footage to edit.

Basically this gives amazing 2K RAW footage for $3000, I hope it gets made as it would really sell I am sure, it does not follow the current “I want a bigger sensor” fashion but it would make great looking films and there are plenty of C-mount lenses out there from security cameras at low F numbers to help with  depth of field choices. Of course anyone with 16mm lenses already would be able to use all their existing glass. What about sound? well the spec is for real XLR connections and uncompressed sound, great!

Here are the specs, you can download the specs as a pdf at their web site.

Resolution 2048 x 1152 (Super 16mm mode) + 1920 x 1080 pixels (16mm mode)
Format Adobe Cinema DNG, TIFF, JPEG Image sequences
Colour depth 12 bit – 4:4:4
File size 2 to 3 MB per frame in RAW
Sensor Kodak CCD: 12.85 mm (H) x 9.64 mm (V) – Similar to Super 16mm
Pixel Size 5.5 micron (compared to the 4.3 micron size of many DSLRs)
Framerate up to 32 fps at 2K, 60fps at 720p, 90 fps at 480p
Sound Balanced, 2 channel, 16 bit, 48 kHz via XLR
Viewfinder 320×240, 2.4” diagonal, with Focus Assist
Video out 640 x 480 B&W via ⅛” video jack (HD-SDI avail in separate unit)
Ports ⅛” video, headphone, USB 3.0, Audio XLR (2), 4-PIN XLR
Data Storage Dual CF card slots, SSD (buffer drive)
Power Internal battery, 12V External via 4 pin XLR port
Body Milled steel and hard plastic
Size (body) Approximately 5”H (without pistol grip) by 4”W by 8”D
Size (grip) 5”H by 2”W by 5”D
Lens mount C-mount comes standard; Optional PL, EF, B4
Weight 5lbs
ISO Options 100, 200, 400
Also in the box pistol grip, USB 3.0 cable, internal battery, 4 pin XLR Battery, cable, video cable, transcoder/raw conversio

This reminds me a little of an Ikonoskop camera which was 2K RAW but now is HD RAW with a 16mm sensor 10.6 x 6mm. The digital bolex sensor is bigger at super 16 size.


With any RAW camera you will be getting through cards quickly as RAW eats up data and you will be getting about 1 frame for each 2 to 3 megs, so that is around 5 gigs per minute.

A 32 gig card is only going to deliver 6.5 minutes of footage so data wrangling will be the order of the day on shoots. The sensor is a Kodak sensor and is CCD so no rolling shutter! I do dislike the picture break up you get with CMOS. It makes me wonder what camera the Kodak chip is in or destined to be in commercially?