by Adam Plowden | 22nd September 2016
Sigma continue the high performing ART lens range with an ultra-wide Sigma 12-24mm f/4 ART lens, promising no distortion. Landscape scenes, architecture and large spaces can be captured in even wider angles with the new 12-24mm f/4 ART lens, with zero distortion according to Sigma’s tests. The lens is designed for full frame and has a uniquely designed front element that aids in reducing the ‘fish-eye’ look. Aspherical lenses with low dispersion glass (equivalent to flourite in performance) help minimize distortion, chromatic aberration, pin cushion effect and flaring. The body is weather sealed, and the front and rear lenses have splash proof coating. The Sigma 12-24mm f/4 ART lens will be available in EF, Nikon and SA mount, but with the soon coming MC-11 mount converter you can use the lens on E-mount cameras like the Sony a7S II and FS5. The only comparable lens on the market right now is probably the Canon EF 11-24mm f/4 lens. But with the ART lens series quality we’ve seen before, the promise of no distortion and a pricetag almost half of the Canon, the Sigma 12-24mm f/4 ART lens is certainly an intriguing product for many video shooters and photographers alike. Here are the specs of the lens: 16 elements in 11 groups Aperture of f/4 to f/22 No hard stop focus ring Angle of view – 122 degrees to 84.1 degrees. Minimum focus distance of 24cm. 9 aperture blades Weighing in at 1150g/40.6oz Splash proof front and rear lenses. 102mm front diameter. The Sigma 12-24mm f/4 ART lens will be available in October 2016 and is available for pre-order now.Read more
by Graham Sheldon | 8th September 2016
The recently announced Zoom F4 Multitrack Field Recorder bridges the gap between their popular H6 and flagship F8 eight input models. Read more below. The Zoom design team has been innovating in interesting directions lately, even adding cameras to their product lineup last year. The Zoom F4 Multitrack Field Recorder is a return to their indie-friendly audio mixer roots, with a compact 8-track/6-input design and portable in a 2.3lbs metal form factor. Its capability to record for over seven and a half hours at 192 kHz in 24-bit stereo on SD/SDHC/SDXC in .WAV with a 32gb card means no card dumping until the end of the shoot day at least. Featuring mic preamps of -127 Bu and the capability of adding up to 75 dB of gain, Zoom promises very low noise with +4 dB line-level inputs. You can record WAV at 44.1, 47.952, 48, 48.048, 88.2, 96, 192kHz, or MP3 at 128, 192, 320 kbps, 44.1/48 kHz. Two SD card slots can dual record, and dumping files is possible from a USB port without removing the cards. Inputs: Input 1-4: XLR-1/4″ / 6.35 mm combo jacks Input 5-6: 1/8″ / 3.5 mm stereo mini jack Each of the four Neurtik XLR/TRS connections has individual 24/48V phantom power capability. The mini jacks can be used for returning audio to the camera or for sending a feed to video village for monitoring. Outputs: Main: Balanced XLR (2-pin hot) Sub Output: 1/8″ / 3.5 mm Headphone: 1/4″ / 6.35 mm unbalanced stereo jack Four locking XLR inputs on one side of the Zoom F4 Power options are numerous. Power the F4 from 8 AA batteries, an external DC battery pack, DC-HIROSE or a wall outlet power supply. An unexpected bonus of the Zoom F4 is timecode. The ability to jam sync TC to such a compact device at a very friendly price point is a major plus. The F4 boasts a very precise Temperature Compensated Crystal Oscillator, or TCXO, that allows for 0.2ppm precision at the following frame rates: 23.976ND, 24ND, 25ND, 29.97ND, 29.97D, 30ND and 30D. Zoom mic capsules can be added to the blue port in the image giving you added XLR or 3.5mm inputs as well as other customization options. Camera operators have been enjoying more and more the freedom of modular camera designs and it’s good to see Zoom continuing to support their modular mic capsule adapters. You can easily add a wide variety of Zoom accessories with these mic capsules and here are just a few: ECM-3 mic capsule extender cable MSH-6 mid-side mic capsule SGH-6 shotgun mic capsule SSH-6 stereo shotgun mic capsule EXH-6 dual XLR/TRS combo input capsule All of the mic capsule adapters can be used on the Zoom H5 and Zoom H6. Zoom promises to bring many of our favorite features of the Zoom F8 to a wider audience of filmmakers with their new F4 MultiTrack Recorder. Features of the Zoom F4 MultiTrack Field Recorder at a glance: Six-input / eight-track field recorder with integrated mixer Timecode (TC) with little potential for drift Six inputs, including four XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input Weighs slightly over two pounds (without batteries) High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution Two different power supply options: 8x AA batteries or external DC with 4-pin Hirose connector Dedicated gain control knob with 6 individual LED level meters Phantom power (+48V/+24V) on each preamp On-board limiters for both input and output Compatible with all Zoom mic capsules 1.9” white, backlit monochrome LCD Dual SD/SDHC/SDXC card slots, up to 512GB each WAV or MP3 file formats Availability: B&H is accepting preorders now and for our European audience, head to CVP by clicking here. Price: $649.99Read more
by Sebastian Wöber | 17th September 2014
We had the chance to get some hands-on experience with Sony’s new and long-awaited FE PZ 28-135mm F4 G OSS cine lens and talked directly to Sony’s cine product manager Sadanobu Ueda who explained all the details about the new lens on (see above) and off camera. Why is this lens important? Many users of large sensor cameras, be it dslr video users or those who use larger cinema cameras, have had to resort to photo lenses for large sensor video use. The new Sony FE PZ 28-135mm F4 G OSS cine lens is the first dedicated video lens for large sensor cameras. Here’s a list of the most important features: It has an ideal zoom range for most applications ranging from wide angle to close-up focal lengths. It has a continuous aperture of F/4.0. The lens can be controlled with accessories like motors or manual follow focus units due to it’s geared design, yet the focus rings are rubberised for easy handheld use. The focal length can be controlled with a built-in zoom rocker (zoom). The built in motors can also be controlled remotely from cameras with a zoom rocker (Sony FS7). With the flip of a switch the aperture can be clicked or de-cllicked for smooth operation. The lens features an optical image stabiliser. Hands-On Experience We had some hands-on time with a prototype of the lovely new lens and we can tell you that it truly is a lovely and sharp lens. Unfortunately we are not allowed to publish the footage we shot, but will reveiew the lens more in-depth in the future. The aperture F/4.0 seems to go all the way through, unlike Canon’s own and frequently used Canon 24-105mm that gets darker at the far end. The images appear very sharp and clear and we couldn’t see any obvious chromatic abberation or softening at F/4.0. We were told it is made for 4K applications. The optical image stabiliser behaved very nicely and smoothly and a lot like the one we know from the Canon 24-105mm, probably even a little better. We could use the 135mm focal length and get an extremely stable image from a handheld A7S. A very very welcome feature is the fact that you don’t lose focus when you change the focal length. So you can zoom all the way in to focus and zoom out again to retain a focused image, just like on a proper ENG lens. The declicked aperture is a wonderful feature to have. Overall the lens feels very well manufactured and strong. What we didn’t like so much was its size and weight. The Canon in comparison is definitely a more compact lens. Also we realised that the zoom was always motor-controlled. So even if you change the focal length with the zoom ring on the lens itself, it’s always a motor inside that actually controls it resulting in less precise and slower focusing possibilities. The lens will be available early next year and cost $2.499. It is already available for pre-order.Read more
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