Audio specialist ZOOM readies the all-new H8 recorder. As the name suggests, it offers an impressive 8 channels of audio input (but, even more impressively, can record up to 12 channels). Furthermore, it comes with a bunch of modules and handy upgrade paths. Meet the ZOOM H8. The new ZOOM H8 audio recorder. Image credit: ZOOM So I do own a ZOOM H1n from back in the day. This is a handy device for recording audio on-the-go without the need of packing a fully-fledged field mixer/recorder. Times have changed, obviously. The new ZOOM H8 is a beast, really. It not only features an incredible amount of audio inputs, it’s also modular, expandable, has touch-control built in, can act as a digital audio interface for your laptop, the list oes on.. Have a look at the introduction video below to get a first glance: Since things can pretty complicated pretty fast when a device offers too much options and features, the ZOOM H8 has a trick up its sleeve: apps. The whole device adapts to your project’s needs via three dedicated app-driven workflows. Yes, there’s finally an app for that, too. ZOOM H8 Audio Mixer/Recorder This new mixer/recorder is basically 4 devices in one: A location sound mixer/recorder (FIELD app), a podcast recording device (PODCAST app), a live performance music recorder (MUSIC app) and an audio interface for expanding your computers audio capabilities. using the H8 as a field recorder. Image credit: ZOOM Each app turns the ZOOM H8 into a much more specialized recording device, supporting your specific workflow. That’s a neat trick and if the touchscreen works well, I think it’s the way to go with these rather small devices. The whole device is pretty much modular, just like other ZOOM audio recorder in the past. The core unit consits of the screen part and the uniquely-shaped I/O part. This is where you connect your mics, instruments and/or other audio sources to the H8. image credit: ZOOM On top of the unit you can tap into the so-called Zoom Capsule System 2. As a default, the H8 comes with the XYH-6 X/Y Mic Capsule, offering 2 additional channels in a X/Y configuration. But you can swap the module for others, such as the XAH-8, which is basically a more advanced version of the aformentioned module. the XAH-8 module. Image credit: ZOOM The XAH-8 offers a combination of both, a X/Y and a A/B  stereo setup. If you want to go crazy in terms of external audio sources, you should take a close look at the EXH-8, an extension module with 4 additional XLS inputs. It offers gain knobs, pad swithces and +48V phantom power (but you need an external power source connected for that). EXH-8 and VRH-8 modules. Image credit: ZOOM For 360 ambisonic recordings, add the VRH-8. It sports a mic capsule that utilizes four condenser microphones and a built-in accelerometer so that the mic is always aligned in space. Furthermore, this module features an ambisonic decoder which automatically handles the necessary conversions. In the following video, Samuel Greene, product specialist at ZOOM, walks us through the new H8 unit: So this new unit really seems to be a capable piece of tech, although it might be a bit bulky for some. Of course ZOOM has more compact units available, the ZOOM H8 is really building a bridge here to larger recorders, such as the ZOOM F8n. Specifications Four of the six base inputs (1-4) come in the shape of a XLR socket. The next two (A, B) offer a combo jack, accepting XLR or 6.3mm plugs, this is useful for guitars for example. All 6 main inputs support phantom power if needed. The XY module on top supplies the missing two channels. Eight in total, hence the name H8! A 3.5mm audio output can be connected to a camera’s input for example. touch control. Image credit: ZOOM For recording audio the H8 utilizes regular SD cards with capacities up to 512GB. When using the H8 as an audio interface it can record up to 12 individual tracks at the same time. And speaking of recording, it supports both WAV and MP3 files in the following formats: WAV: 44.1/48/96 kHz, 16/24-bit, mono/stereo MP3: 128, 192, 320 kbps The whole thing is powerd by four regular AAA batteries but you also can get the optional AC adapter (ZOOM AD-17) which supplies DC 5 V/1A. When using the H8 as an audio interface, the micro USB socket is on double duty: audio and power. An audio spider? Image credit: ZOOM The ZOOM H8 is 116.4 mm (W) × 163.3 mm (D) × 48.6 mm (H) in size and it weights 354 g. These measurments only apply to the main unit without the attached XYH-6 module. When using the optional BTA-1 remote dongle, you also can start/stop and monitor levels remotely via your phone. Remote control. Image credit: ZOOM The ZOOM H8 is available now. I think this is a pretty impressive piece of gear for those who don’t want to go all in with large and bulky devices but still want to use their audio gear in a very flexible way. The app-driven approach seems to be well thought out, things like dedicated menus for still photography and video modes on mirrorless cameras pop in mind. Links: ZOOM website What do you think? Could this be your next-gen audio recorder? Share your thoughts in the comments below!

The ZEISS Supreme Prime line-up of full-frame (and high-end) cine lenses keeps on expanding: ZEISS just announced three new lenses, two of them were already on the roadmap but one is completely new: the 40mm T1.5 is meant to fill the gap between the 35mm T1.5 and the 50mm T1.5. Three new Supreme Prime cine lenses. Image credit: ZEISS The Supreme Prime line-up was first introduced in 2018, and we had the opportunity to spot them in the wild at CineGear that year (read our article here). These ZEISS lenses are designed to cover full frame sensors of high-end cine cameras, therefore these are money-no-object pieces of gear. ZEISS Supreme Prime Lenses Back in 2018 ZEISS not only launched the first few lenses but released a roadmap of lenses to come, for example, the now announced 18mm T1.5 and the 200mm T2.2. The addition of a 40mm T1.5 is a bit of a surprise since this lens didn’t show up on any roadmap but here it is. Here’s Christophe Casenave, responsible for cinema products at ZEISS, on the matter: Since launching these lenses, we have been in constant contact with customers worldwide and will continue to work on further enhancing this family. We added the new lens in order to respond flexibly to our customers’ desire to close the gap between the 35 and 50 millimeter focal length. Although 18mm is a pretty extreme focal length, this is not the end yet. ZEISS will be adding a 15mm T1.8 by mid-2021. That makes 14 lenses in total for the Supreme Prime family of lenses. That’s not all of them! Image credit: ZEISS For the latest additions, ZEISS has released two new videos showing off the optical performance of the whole line-up (except for the upcoming 15mm T1.8). The first video sports a fixed camera position, in the second one the camera position compensates for the increasing focal length. The second video also includes focus pulls in order to better judge focus breathing, focus, and bokeh on these lenses. Both videos were shot on a Sony VENICE 6K. All the lenses across the family cover full frame and even bigger sensors with an image circle of 46.3 mm. The Supreme Prime lenses are color matched across the full range. Most lenses feature a 95mm front diameter and each lens has a standardized positioning of the focus and iris rings. Specifications If you want to all about the Supreme Prime family of lenses, the following spreadsheet is for you. Each of the 14 lenses is in there with all the available details. The Supreme Prime family of cine lenses. Image credit: ZEISS The only info missing is the details about the upcoming 15mm T1.8 lens, so we have to wait just a little bit longer for that I guess but at least it’s nice to have a clear roadmap! Since these lenses are meant to be used in a high-end cine/commercial environment, they feature the so-called eXtended Data interface. eXtended Data. Image credit: ZEISS With it, you can record key lens data based on the Cooke /i* Technology and the ZEISS distortion and shading lens data. After recording on set together with the video files, they can be applied in post-production for compositing for example by using the ZEISS developed lens plugin. The lenses are pretty much user-customizable in terms of lens mount (PL, ARRI LPL and Canon EF) and you can even swap the scale from meters to feet and vice-versa with just a T4 Torx driver. Conclusion These lenses are going to be very expensive so don’t even ask. The already available lenses cost around $20,000 each. The new 18mm T1.5, 40mm T1.5, and the 200mm T2.2 will be available by September 2020, the 15mm T1.8 will be ready by mid-2021. image credit: ZEISS Links: ZEISS What do you think? Have you ever worked with these lenses? Share your experiences in the comments below!

Dealing with multiple cameras and/or sound mixers? Timecode is important to tie everything together for a smooth post workflow. But TC tends to be a bit tedious. The new DISH.TC PRO device might offer a solution to this… a solution from outer space! The new DISH.TC Pro. image credit: DISH This box is the second iteration of the already available DISH.TC (read our article here). This time around, the PRO version replaces the 3.5mm jack with a proper BNC connector. Furthermore, it adds the ability to switch framerates from 23.98 fps all the way to 30 fps. DISH.TC PRO – Now on Kickstarter Just like the first version, the new DISH.TC PRO makes its debut over on Kickstarter. The older (or rather, other) version won’t go anywhere, the PRO just expands the lineup for pro cameras and sound mixers. So you have to make a choice: 3.5mm out for audio-based LTC timecode from the original unit, or framerate-switchable TC via BNC for higher-end cine cameras. Both devices share one thing: universal timecode without the necessity of jamming, connecting to a parent clock, or any other setup, really. Normally, TC generators work in a master/slave (a terminology nobody should use, really) parent/child mode. Unlike this, the DISH.TC devices receive accurate timecode from satellites with an accuracy of 1/500,00th of a frame. They never have to be connected to each other, they don’t need to be in the same location (or on the same continent). Each and every DISH.TC is in sync to UTC time, always. “Normal” DISH.TC (left) vs. DISH.TC PRO (right). Image credit: DISH All you have to do is to set the correct framerate for your project, connect the DISH.TC PRO to your devices’ TC input and off you go. How Does it Work Since the timecode generation is handled by a network of satellites up in the sky above, the DISH.TC devices here on earth are quite simplistic in terms of user interaction. They will receive, process, and output accurate UTC based timecode whenever they are powered up and connected to a camera or sound mixer. The manufacturer claims that it will even work indoors, except in metal buildings with no windows (a sound stage maybe?). DIS.TC PRO, connected to a sound mixer/recorder. image credit: DISH If your phone can find its location, your DISH.TC will find accurate TC, too. And if not, it still outputs valid in-sync timecode since each DISH.TC has its own internal clock. You just need to bring it outside for an initial uplink to the satellites and you’re all set. That’s the promise and to me, the idea is tempting, indeed. Here is a video, provided by DISH.TC in which Bobby Dalley speaks a bit about the new DISH.TC Pro: The whole process really sounds quite simple. The way timecode should be, really. The DISH.TC PRO is powered via two standard AA batteries which will last for up to 40 hours. One 1/4 20 mount can be used for attaching the DISH to your gear. I tend to use just plain velcro for these things. The Kickstarter Campaign The DISH.TC PRO is not available for regular retail just yet. First, it will go through the recently launched Kickstarter campaign, which will end in about a month (July 29th). You can back the project by “ordering” one unit (from $209 – early bird), a set of two (from $419 – early bird), a set of five ($1.049 – early bird), or even ten DISH.TC PRO’s ($2.099). Remember, that Kickstarter is not a retailer but a funding platform. So everything can happen, including complete failure and loss of money. In return for taking the risk, you are rewarded with lower prices than the regular retail price. Framerate selector. image credit: DISH Links: Kickstarter Campaign | DISH website What do you think? Is this the TC device you’ve waited for? Do you use other solutions? Which ones? Share your experiences in the comments below!

Blackmagic Designs flagship NLE / color grading / finishing suite DaVinci Resolve now ships as version 16.2.3. This rather minor release addresses some issues and performance glitches as well as some new features. One of them is the (now faster) decoding of clips coming from some Canon EOS-1D X Mark III and EOS R5. A hint maybe? image credit: Blackmagic Design (edited by cinema5D). So the acclaimed DaVinci Resolves now supports decoding files from the freshly released Canon EOS-1D X Mark III and the yet-to-be-released EOS R5. This might be a pretty obvious hint that the EOS R5 might not be too far away. Read more about the upcoming R5 here, here and here and also make sure to give our coverage about the Canon EOS-1D Mark II a read here. Resolve is Ready for the Canon EOS R5 Oddly, the next major iteration of DaVinci Resolve wasn’t revealed around NAB this year (as usual), but what’s usual this year?! For now, Blackmagic Design seems to polish the existing code base and hold back major features until they’re ready for the big stage. This is a good move from my perspective since pushing out new versions just because the calendar shows a certain date is no good in the long run. The now faster Metal decoding for both the Canon EOS-1D X Mark III and the upcoming EOS R5 is a welcomed feature. All the shiny effects and features crumble if the underlaying engine can’t handle the footage in the first place, right? image credit: Blackmagic Design More new features include updated support for Dolby Vision and support for RED SDK 7.3.2. DaVinci Resolve 16.2.3 Any DaVinci Resolve changelog tends to be a rather long read but since we’re talking a sub-point release here, the list of added features is short enough to actually write it down here: Support for Dolby Vision 4.1 CM algorithm to generate v2.9 trims from v4. Option to export a Dolby Vision v2.9 XML from a v4 project. Support for RED SDK 7.3.2. Faster Metal decoding for Canon EOS-1D X Mark III and EOS R5 clips. image credit: Blackmagic Design The rest of the list handles fixed issues but it is worth posting here, nontheless: Addressed incorrect playback for some ARRIRAW clips. Addressed an issue with ACES IDTs for some ARRI MXF clips. Addressed a focus and text entry issue for editable media pool fields. Addressed an issue rippling audio extend edits in trim mode. Addressed display issues with track and edit index in Fairlight page. Addressed a layered editing issue when cloning audio clips. Addressed incorrect behavior moving tracks over linked audio tracks. Addressed incorrect masking in Text+ when using image shading. Addressed incorrect behavior deleting gradient points in inspector. Addressed multiple issues with blank Fusion previews. Addressed an issue persisting viewer LUTs with comps in Fusion page. Addressed an issue with offline reference wipe sizing in the viewer. Multiple performance and stability improvements. In terms of pricing, nothing has changed. The normal version is still free to download, the Studio version is $299. You can download your copy over at Blackmagicdesign.com. What do you think? Might the Canon EOS R5 be just around the corner? Are you using DaVinci Resolve in your workflow or do you prefer some other software? Let us know in the comments below!

SmallHD is back in business and they do it with a bang! Their flagship Cine 7 on-camera monitors receive a price drop and SmallHD even ships them with either the (formerly paid) ARRI and/or RED control software, for free. image credit: SmallHD The SmallHD Cine 7 monitor is a pro monitor, designed for serious production work. Therefore it sports pro-priced software addons for both ARRI and RED cine cameras. These upgrades used to come with a hefty price tag but not anymore! You can choose between different bundles for pretty significant discounts over at smallHD.com. Also make sure to give our previous coverage of the Cine 7 monitor a read here and here. SmallHD Cine 7 Bundles There are four bundles available right now. All four feature the Cine 7 monitor itself, of course, they differ in terms of camera control capabilities and in terms of battery plates. So you’ve got the choice between The ARRI bundle, which includes the ARRI control software upgrade and all the cables you need for connecting to a compatible ARRI cine camera and the RED kit, which obviously includes the RED control software plus all the cables plus a micro USB to Lemo 5-Pin adapter (necessary for connecting the Cine 7 to a compatible RED cine camera). ARRI and RED Kits for the SmallHD Cine 7 monitor. image credit: SmallHD These software upgrades used to cost between $400 and $500, so that’s a pretty good deal right there. Furthermore SmallHD has slashed the prices on the Cine 7 monitor itself, so as a result you save almost $900 when getting one of these bundles. SmallHD Cine 7 Deluxe Kits If you can’t really decide which one of the two you might need (or you just want to control both types of cameras), there are two more bundles available: The so-called Cine 7 Deluxe Camera Control Kit in both Gold mount and V-Mount versions. Can you spot the difference? image credit: SmallHD These two bundles differ only in the battery plate they come with: Your choice of either Gold mount or V-mount. Everything else is included: All the cables needed, both software upgrades (ARRI and RED), a sun hood, an 8GB SD card and a hard case. Both bundles with either the ARRI upgrade or the RED upgrade is available for $1,499, both deluxe branded kits clock it at $1,899 (that’s a $1,300 discount). Our partner B&H still lists these kits at slightly higher prices but I guess they’ll update them soon. You can check out all the details over at smallHD.com. image credit: smallHD What do you think about these bundles? Worth a closer look or are you happy with your current monitor? Share your thoughts in the comments below!

If you happen to be a medium format shooter, more specifically a Hasselblad owner, this news is for you! Hasselblad just released a new firmware update which finally puts the dedicated camera symbol on the X1D II 50C’s mode wheel into operation: Video mode is here! image credit: Hasselblad The freshly released firmware 1.2.0 update covers two of Hasselblad’s models, the X1D II 50C and the 907X Special Edition. Both share the same 50MP 43.8 x 32.9mm CMOS sensor with 16-Bit color and a claimed 14-stop dynamic range. Unfortunately, this firmware update does not cover any H Series Hasselblad cameras. Hasselblad Firmware Upgrade In terms of features, one item on the list stands out, at least for this site’s readership: video mode. Both supported cameras sport a new video mode but to be honest it is a bit underwhelming (especially if you take the giant sensor into account): The resolution is limited to either 2.7K (2720 x 1530) or HD (1920 x 1080) and the framerate and color subsampling top out at 29.97fps with 4:2:0 8-bit color. Whether the full sensor is being used for capturing video or if it’s operating in windowed mode remains to be verified. What’s clear is that only manual mode is functional when shooting video, and at least there’s focus peaking available. Both cameras come with dedicated 3.5mm mic in and headphone out connectors. A clip of video is limited to 29:59 mins. Focus bracketing. Image credit: Hasselblad The firmware has some additional tricks up its sleeve which are more focussed on photography: Focus bracketing in-camera image rating 2/3 stops added in exposure bracketing expanded white balanced tools auto white balance based on captured image EVF proximity sensor settings (X1D II 50C only) reset custom buttons option (X1D II 50C only) additional camera support (cable-free operation with CFV II 50C Digital Back on 2000-cameras and unmodified 200-cameras) in-camera rating and white balance picker. Image credit: Hasselblad Photography vs. Video Both cameras are true still photography workhorses, no doubt about it. However, it’s nice to see added features which are related to the video side of things. If 2.7K video and especially 4:2:0 8-bit color sub-sampling really cuts it? I don’t think so. But it is good to have the ability to shoot a quick video if it’s necessary without having to carry an additional dedicated video camera for that purpose. How good the image quality really is remains to be seen as the enormous medium format sensor could be used for some very decent downsampling here (without introducing too much rolling shutter, hopefully). Video mode! image credit: Hasselblad Since these cameras are quite an investment it’s nice to see that Hasselblad adds features over time, even if the specs are somewhat underwhelming. But since these cameras are designed for a specific purpose (high-end photography), I think it would be unfair to expect cutting edge video specs here. The 1.2.0 firmware update can be downloaded here for free. links: Full rundown of features What do you think? Is it a good thing to add features like the new video mode even though they might not be cutting edge? Share your thoughts int he comments below!

To extend the headlines question a little bit: What is the actual impact of a production grip department on the final look and feel captured through the camera? It might surprise you but without the help of grips, we’d be watching pretty boring, uninspired stuff all day long. Watch the whole interview with Jake Reeder, a key grip himself, hosted by our very own Graham Sheldon. Deploying a giant camera crane in the desert? Right away! (image credit: Jake Reeder) So what exactly does a key grip do? It’s not (only) about lifting heavy stuff and push a camera dolly from A to B. It’s much more than that and I’ll use Jake’s words here: The grip department is kind of the weird glue which make all the different departments come together. Working as a Key Grip The one misconception about the position of a key grip is the actual chain of command on a film set: It’s not Director -> DoP -> Gaffer -> Key Grip. Gaffer and Key Grip are actually on the same level and need to work together in order to make the Directors and DPs vision a reality. Who brought the light up there? (Image credit: Jake Reeder) Let’s start our story with a scouting trip. The key grip needs to be there (as does the Gaffer) in order to check how to place the camera at the desired position, how to deploy a light on top of that rim, and so on. Gaffer and key grip work in tandem to make things not only possible but, and that’s another aspect of the key grip position, also safe. Jake again: The Gaffer works towards what the DP wants to see, the Grip then works towards making that possible or, if it’s not possible, coming up with another way to do it. The bigger the production, the more complicated and sophisticated the setup will be. Hanging a giant light rig overhead of a crowd of people is a dangerous thing to do and the key grip is responsible for making it 1) work and 2) for finishing the job safely for everybody involved. The Gaffers’ job is to translate the Directors and DPs’ vision into an actual lighting scheme and he is also responsible for everything electric (aka dangerous). In order to deploy a light to a certain location, he will work together with the grip department. Is it safe to swing here? Of course it is! (Image credit: Jake Reeder) Grips are also in charge of controlling lights, they’ll set up flags, scrims, bounces, diffusers, you name it. That’s one part of the grips work, another filed is safety in general: Members of the grip department are actually in the same guild as set medics. Camera Rigging Now we’re approaching the one topic, everybody thinks it’s the one and only job the grip department has: Camera rigging. But as you can see above, it’s not only about that but it certainly is one of the main fields a key grip has to cover. I need the camera right there. – Ok, done. (image credit: Jake Reeder) Camera rigging, camera movement, camera safety. It’s all in the hands of the grip department. Although there might be dedicated camera operators, steadicam operators, or even the DP him/herself who is operating the camera, a member of the grip department is always right there. Jake again: Every time a camera’s involved, grips are also involved. Bringing a camera crane in position… in the middle of a desert? Certainly. Mounting a camera so that it hovers in the middle of a staircase and moves up during the shot while tracking a talent? Of course! Becoming a Member of the Grip Department Becoming a good grip is not only about physical strength (although you’ll need a little bit of that!) but about attitude. You need to enjoy doing what you do. And of course, a lot has to do with schlepping stuff from A to B. But as Jake puts it it’s also about safety, about connecting with different departments, bringing it all together. Let there be light! (image credit: Jake Reeder) You need to be creative, coming up with ideas on how to rig a piece of gear at a given spot. It’s all about working towards the goal of creating a beautiful piece of film/commercial/music video/…. And really, without the help of the Key Grip and his/her department, our daily dose of visual entertainment wouldn’t be as enjoyable… at all! Have you ever worked with a Key Grip on one of your productions? Share your experiences in the comments below!

Panasonic has just launched a new compact zoom lens for the L-mount full-frame system: the LUMIX S 20-60mm f/3.5 – 5.6 zoom lens. According to Panasonic, this lens has been designed with both photographers and videographers in mind. image credit: Panasonic The brand new LUMIX S 20-60mm zoom is rather lightweight and compact when you compare it to other zoom lenses. It weighs a mere 350g which makes it a perfect companion for gimbal-mounted full-frame cameras. But of course, there’s a twist. This lens is kind of slow with an aperture of f/3.5 down to 5.6 when fully zoomed in. For outdoor shooters this might not be a problem, but as for moody twilight scenes, it might be just too slow. Apart from this, there is a lot to like about the new LUMIX S 20-60mm! What this new lens does not offer is lens stabilization. So we’re talking a rather basic but still versatile zoom lens with a decent range here. Auto focus (stepper motor) can be engaged via a simple switch on the lens itself. Panasonic LUMIX S 20-60mm Zoom Lens According to Panasonic, the engineers have managed to minimize focus breathing on this lens, a feature especially useful for filmmakers. As a result, the framing won’t shift as much while racking focus as you might be used to when shooting with “regular” photo-centric lenses. Furthermore, the minimal focus distance is just 15cm, which is pretty impressive, indeed. The whole design consists of 11 elements in 9 groups (2 aspherical and 3 extra-low dispersion ones). The iris consists of 9 blades and the filter thread measures 67mm. image credit: Panasonic I think the lens is great for accompanying a full-frame camera mounted on a gimbal. You get a decent range in terms of focal range (especially on the wide end) but you don’t stress the motors too much with a super-heavy setup since the LUMIX S 20-60mm zoom is rather lightweight and compact. It’s only 87 mm (3.43″) in length. One thing to mention here is the fact that the zoom mechanism is not internal, so the lens is extended as the focal length changes. However, most modern gimbals should be able to cope with the slight change in the centre of gravity. image credit: Panasonic The lens sports weather sealing as you can see above. It contains 5 rubber rings for sealing off the inner workings from the elements. It is dust and splash water resistant, so your forthcoming adventure trip is on if no heavy thunderstorm is predicted and the temperature doesn’t drop below -10°C (14°F). Pricing and Availability The LUMIX S 20-60mm f/3.5 – 5.6 zoom lens should be available around July 2020. The suggested retail price has been set to €573 exc. VAT ($598 exc. Tax). That’s a good price for a full-frame L-mount zoom lens. If you don’t mind the rather slow aperture this might be a good standard zoom for all kinds of jobs. image credit: Panasonic There will be a kit with this new lens plus the Panasonic LUMIX S1 mirrorless camera. However, pricing on this kit is yet to be seen. You can check the official press release following the link below. Links: Panasonic (press release) What do you think about this lens? Is it worth a closer look? Might it be interesting for gimbal shots? Share your thoughts in the comments below!