Introducing the Next Generation of Premium Live Image Capture
The LDX 100 Series from Grass Valley delivers groundbreaking advancements in broadcast camera technology. Designed for high-performance production environments, these cameras combine exceptional image quality with innovative features, enabling broadcasters to capture dynamic content with unmatched precision and creativity.
The LDX 100 Series cameras are equipped with advanced connectivity options, ensuring seamless integration into existing production workflows while enabling new workflow possibilities and enhancing cross-team collaboration.
Intuitive controls and customizable settings let operators tailor the camera to their specific needs. Combined with the integrated lens zoom control in the handgrip, this streamlines operation and boosts overall productivity.
The LDX 100 Series cameras utilize advanced imaging sensors that provide exceptional detail, vibrant colors, and superior low-light performance. With a global shutter always operating, they consistently deliver the highest quality in every shot.
The LDX 100 Series adapts to diverse production needs, supporting multiple formats—including HDR, 4K, and HD—simultaneously. With integrated LUT-based HDR-to-SDR conversion, it ensures seamless transitions between production standards.
Built with an adaptable architecture, these cameras allow easy function expansion through software options—both permanently and daily. This ensures long-term versatility and readiness for future production demands.
The LDX 180 brings an entirely new dimension to live storytelling, adding cinematic depth that elevates every close-up, every moment, and every emotional beat. It invites your audience deeper into the action, blending filmic intimacy with the immediacy of live production. And because it’s part of the LDX 100 Series, it integrates seamlessly into your existing setup, sharing accessories, transmission systems, and workflows for effortless production continuity.
At the heart of the LDX 180 is Grass Valley’s in-house designed Super 35 Xenios CMOS imager, delivering true Global Shutter performance and oversampled UHD resolution. Paired with a PL mount, it supports the most iconic cinematic lenses, enabling productions to combine artistry with precision in fast-paced environments.
With Creative Grading, the LDX 180 is controlled in perfect sync with the rest of your Grass Valley camera lineup, allowing you to maintain one consistent visual story from every angle. The rich, intuitive interface gives operators full access to every parameter. Not through numbers, but through visual feedback, unlocking the full creative potential of your cameras, even in the most challenging lighting and production environments.
Explore the different models below to determine which best suits your production needs.
Bringing Cinematic Depth into Media Production Workflows
Bringing Cinematic Depth into Media Production Workflows in a compact camera
The ultimate expert in high-speed operation
The expert in high-speed wireless operation
Redefining power and performance in a compact camera
The top performer in single-speed operation
The ultimate expert in wireless operation
Unmatched single-speed performance in a compact camera
Premium quality in an entry-level broadcast camera
Affordable wireless operation without compromise
Superior quality packed into an entry-level compact camera
Explore the different models below to determine which best suits your production needs.
| Model | LDX 110 / LDX C110 | LDX 135 / LDX C135 * / ** | LDX 150 / LDX C150 */ ** | LDX 180 ** |
|---|---|---|---|---|
| Imager | 1x 2/3" | 3x 2/3” | 3x 2/3” | 1 x S35 |
| Global Shutter | Yes | Yes | Yes | Yes |
| Lens mount | B4 | B4 | B4 | PL |
| Pixel count | 8.3M | 24.8M | 24.8M | 51.8M (10K imager) |
| Speed support | 1x UHD / 3x HD | 1x UHD / 1x HD | 3x UHD / 6x HD | 1x UHD / 1x HD |
| XCU connection | Yes | Yes | Yes | Yes |
| DirectIP | Option | Option | Option | Option |
| NativeIP | No | Option | Option | Option |
| JPEG XS | No | Option | Option | Option |
| Summary | Cost-efficient solution with up to 3x speed HD operation | Highest performance for all single-speed applications | Highest performance for all highspeed applications | Filmic look in all live applications |
* Perfect “twins” for high-end live productions
** Perfect “triple” for high-end live productions with filmic look at some positions
Recent awards for our LDX 100 Series cameras
Explore the 5 frequently asked questions that provide further insights into essential aspects of camera technology in broadcasting and cinematography
Depth of Field (DoF) in a camera system is primarily influenced by the lens iris and the focal length, where the focal length required for a given viewing angle depends on the size of the image sensor. A wider (more open) iris decreases DoF, and a longer focal length also reduces DoF; however, these adjustments are often limited by fixed object distances and the narrow optimal aperture range, especially in UHD systems. In practice, sensor size plays a key role—larger sensors (e.g., the S35 imager in the LDX 180) result in a shallower DoF compared to smaller sensors (e.g., 2/3” in the LDX 110/135/150) under the same shooting conditions.
Broadcast and cinematography lenses differ primarily in image size compatibility, lens mounts, and control systems. Broadcast lenses use the B4-mount for 2/3” imagers and have built-in controls, while cinematography lenses—typically PL-mount for larger S35 or full-frame sensors—often lack integrated controls. Optical converters to use B4 lenses on S35 cameras reduce sensitivity by about 2.5 f-stops and compromise resolution, making them unsuitable. For live use on S35 cameras, PL-mount lenses with built-in servo controls are the recommended solution.
A single UHD imager provides superior resolution and image sharpness compared to a three HD imager setup, especially in UHD operation, where the single imager delivers native resolution while the three-imager system relies on up-conversion. In HD mode, the UHD imager also benefits from green channel oversampling, resulting in better sharpness and reduced need for digital enhancement. However, in LED wall applications, single UHD imagers are more susceptible to colored moiré artifacts due to the uneven distribution of color pixels, requiring carefully designed optical low-pass filters—whereas three-HD-imager systems typically produce less disruptive, monochrome moiré.
For simultaneous HDR/SDR live productions, the optimal workflow combines native HDR operation, high-bit-depth look control, and built-in LUT processing for accurate HDR-to-SDR conversion. Native operation in BT.2100 formats (HLG and PQ) ensures uncompromised 10-bit image quality, avoiding degradation from format conversions. Applying look control within the camera's high-bit-depth processing and using 33x33x33 LUTs matching those at the production output ensures consistent SDR signals for shading, ISO feeds, and delivery.
Broadcast RF solutions use dedicated point-to-point transmission over reserved frequency bands and remain reliable for high-end productions. But they are complex, costly, and limited by bandwidth and regional regulations. In contrast, broadcast 5G solutions offer more flexible and scalable wireless camera integration, enabling direct streaming into software-based production platforms and supporting remote workflows. 5G can operate over public networks, local networks, or sliced public networks, making it a versatile option for a wider range of broadcast applications.
