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!

In-person trade shows might be on hiatus, but CineGear ON AIR brings industry luminaries together on Zoom webinars for free to the public. Let’s learn more! Image Credit: Arkansas State University, CineGear What Is CineGear ON AIR? Cinegear is a major filmmaker-centric trade show, taking place every year at the end of May in sunny Los Angeles, California. For obvious reasons, Cinegear 2020 was first pushed back, then canceled entirely. But that doesn’t mean they’ve just given up the ghost. CineGear in the past has presented two major things. The first are eye-catching product announcements and demos from newcomers and established players alike. The second are presentations, panels, and discussions from major industry figures and organizations. Product announcements are out for this year, but the industry discussions are still very much on the table. That’s where CineGear ON AIR comes in. Featured Topics and Speakers Right out of the gate, CineGear ON AIR will begin July 1st with a panel discussion named “Got Agent?”, featuring top agents from across the film industry. Listen in to learn if you have the right agent, how to differentiate yourself from the competition, and ways to get established. Jay Holben moderates the panel, and guests include Julia Kole—Artistry, Craig Mizrahi—Innovative Artists, Dan Burnside—DDA, Kristin Tolle-Billings—WPA and Brian Goldberg—WPA. Cinema5D has previously spoken with Kristin Tolle-Billings in our series “Cinema5D On The Go,” which you can watch HERE and HERE to get a flavor of the conversation. Don’t go thinking this is the only event CineGear is hosting. Future topics include “A CineGear Tribute to 100 Years of American Cinematographer Magazine”, Technology Close-Ups, Online Film Competition, CineGear Hall of Fame, and much more. The schedule of upcoming events and on-demand streaming of previous ON AIR programs will be available at www.cinegearexpo.com How Do I Sign Up? You can watch any and all of these panels, presentations, and workshops online over Zoom. They will also be recorded, so if you miss an event you can catch up on-demand at a later date. To register for upcoming panels and to watch past ones, just go to www.cinegearexpo.com. Do Zoom webinars meet your industry discussion needs? What panels do you hope to see at CineGear ON AIR? Let us know in the comments below!

The cinema5D Virtual Show is a superb occasion to discover new filmmaking technologies, and the Redrock Micro Eclipse for Robots is one of them. This innovative wireless Focus Iris and Zoom system allows you to precisely control all your lens parameters in total synchronization with the movement of a robotic arm. Let’s take a closer look at this pioneering piece of filmmaking high-tech. Industrial Robots Traditionally, industrial robots are used to build cars, automate repetitive tasks in big warehouses, and so on. These expensive robots can do the same thing over and over again. In the last decade, we have seen more and more of these robots used in the motion picture and commercial industry. Some of these robots are even designed explicitly for filmmaking applications like the MRMC Bolt. By having the ability to repeat the same movement a thousand times with the same timing, you can easily do amazing post-production effects. Robots are fantastic and can accomplish things no other device can. The drawback is they come at a high price, and even renting one for a specific project will set you back a lot of money. Image credit: Redrock Micro Redrock Micro recently did a partnership with software company Autodesk as part of their Maya program to help them improve a plugin called Mimic. Mimic is an open-source Autodesk Maya plugin for controlling industrial robots. More simply, it’s a graphic interface that allows filmmakers to create very complex robotic movements with the ability to see what they are doing instead of just manipulating timelines and points. Redrock Micro Eclipse for Robots In this second interview with Brian Valente from Redrock Micro, we learned more about their Eclipse for Robots Focus Iris Zoom (FIZ) wireless control system. Obviously, FIZ systems are not something new, but trying to correctly synchronize the movement of a robot with a lens control system is another task. As a result, the Mimic plugin will now incorporate a built-in lens control interface that integrates perfectly with the Redrock Micro Eclipse for Robots. The Atlas FIZ system. Image credit: Redrock Micro The Eclipse for Robots system consists of Atlas lens control motors with embedded control brains, a Portal Solo USB interface for computer control, and Portal Powered Hub to power the Atlas motors. But, you can also use the Eclipse for Robots system without a robot, by adding one Redrock Micro handheld focus controller, which makes it a very versatile eco-system. Indeed, all Eclipse equipment features 15mm rods standard and a 0.8 pitch gearing. Pricing and Availability The Eclipse for Robots system is not exactly cheap, but an industrial robot isn’t either. The Eclipse for Robots Foundation Bundle is $2700.00, and you need to add 3 Atlas Motors for an extra $4130.00, which means the basic starter pack is $6830.00. However, if you compare that price to an ARRI WCU-4 FIZ system, which is around $22.000.00 or a Teradek RT CTRL.3 kit, which retails for $12.000, the Redrock Micro Eclipse for Robots system is actually affordable and very versatile. What do you think about the Eclipse for Robots system? Did you ever use industrial robots on one of your projects? Let us know 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!

The newly announced Canon 24-105mm F/4-7.1 IS STM is available for pre-order, sporting an RF mount for compatibility with the Canon EOS R mirrorless line. The Canon 24-105mm F/4-7.1 IS STM is a budget friendly zoom lens for RF-mount mirrorless cameras. As the name suggests, it has a variable aperture; f/4 being it’s widest. Image Stabilization (IS) is present, as well as Canons more video-friendly STM focus system. Stepper Motor Technology is quieter than the older USM system, a little slower but most importantly for video a little less jittery, making it smoother when racking focus. All current Canon RF mount mirrorless cameras are full frame, so naturally the Canon24-105mm F/4-7.1 IS STM covers this sensor size. It’s one of only a handful of budget friendly RF mount lenses. Canon has seemed to focus on initially rolling out varieties of professional L series lenses for the mirrorless format; the price point of the new 24-105mm F/4-7.1 IS STM makes it a strong contender for the go-to budget video kit lens. Full specification of the Canon 24-105mm F/4-7.1 IS STM below Focal Length: 24-105mm Maximum Aperture: f/4 to 7.1 Minimum Aperture: f/40 Lens Mount: Canon RF Format: Full-Frame Angle of View: 84° to 23° 20′ Minimum Focus Distance: 5.16″ / 13.1 cm Maximum Magnification: 0.5x Optical Design: 13 Elements in 11 Groups Diaphragm Blades: 7, Rounded Focus Type: Autofocus, STM Image Stabilization: Yes Filter Size: 67 mm (Front) Dimensions: (ø x L) 3.02 x 3.5″ / 76.6 x 88.8 mm Weight: 13.93 oz / 395 g Comparing it to this to the nearest RF zoom lens (non L series). The Canon RF 24-240mm F/4-6.3 IS USM is a little faster, over twice as long, but twice the price. You are also shaving almost half the weight (13.93 lbs./395g v 1.65 lbs./751.26g), and have the aforementioned STM focusing advantage for video. Pre-order links below. Are you invested into Canon’s RF system yet? What do you think about the new lens? Let me know in the comments below!

Philip Bloom talks about his nearly three years of experience working with FUJINON MK cinema zoom lenses. He used them with many different cameras and also changed the lens mount from E-mount to Micro four thirds. Working with FUJINON MK cinema zoom lens. Image source: Philip Bloom During November’s Photo & Adventure trade show in Vienna, Austria, the cinema5D team was in charge of the “Film & Video stage” program at this show. We invited many interesting guests to talk about various topics. You can see the initial post here. We decided to publish the most interesting topics again in separate articles. This article is covering Philip Bloom’s presentation about shooting with FUJINON MK cinema zoom lenses on Blackmagic pocket cinema camera 4K and other cameras. This content was originally streamed live from the Photo+Adventure – Film+Video Stage –  in November. We are re-publishing and highlighting some of the best content from the stage. Shooting With FUJINON MK Cinema Zoom Lenses FUJINON MK cinema zoom lenses come in two focal lengths – MK18-55mm T2.9 (roughly 24-70mm full frame equivalent) and MK50-135mm T2.9 lens (roughly 70-200mm full frame equivalent). Both lenses are available for Sony E-mount, FUJIFILM X-mount, and for Micro Four Thirds (M4/3) mount.  They have an image circle diameter of 28.5 mm which means they cover image sensors till Super 35 (up to 24.84 x 13.97 mm sensors size). Philip Bloom has been using these lenses since December 2016. The lens mount with these lenses is user interchangeable. Philip owns an E-mount version of FUJINON MK zooms and he changed the mount to M4/3 by himself to test them with M4/3 cameras. He used the lenses already on his Sony FS5, Kinefinity TERRA 4K and MAVO, FUJIFILM X-T3, Z CAM E2, and BMPCC4K. The interesting fact is, that the X-mount versions of the lenses have electronics in them so they can tell which focal length they are at for IBIS to work properly (for instance on the FUJIFILM X-H1). FUJINON MK Cinema Zoom Lenses – Mechanics Both lenses have the same physical specs – same length and same weight (990g). They have the same 82mm filter thread. The 200° focus rotation is just the right amount – it is possible for a single operator to go from close focus to infinity with one movement, but it is long enough to be precise even for focus puller. FUJINON MK cinema zoom lenses. The lenses offer back focus adjustment, which helps to align the real focus distance with the right distance marks. The lenses have three standard 0.8 MOD gears – focus, aperture, and zoom. Philips recommends using lens support with these lenses. They are not so heavy, but they are quite long. Sometimes the lens mount can be a bit wobbly. FUJINON MK Cinema Zoom Lenses – Optics FUJINON MK zooms have parfocal design so the focus distance does not change while zooming. They have a constant aperture with a maximum at T2.9 (f/2.8). Great thing is, that there is virtually no focus breathing with these lenses. According to Philip, both lenses are very sharp even wide open. Filmed with FUJINON MK lenses. Source: Philip Bloom Do you have experience working with FUJINON MK cinema zoom lenses? How do you like the image they produce? Let us know in the comments underneath the article.  

DZOFILM introduces an upgraded version of their Linglung 20-70mm T2.9 cine zoom lens and new Linglung 10-24mm T2.9 cine zoom lens. Both lenses have Micro Four Thirds (MFT) mount, they feature parfocal design, and have minimal focus breathing.   DZOFILM Linglung cinema lenses 20-70mm and 10-24mm T2.9. Source: DZOFILM DZOFILM is a Chinese lens manufacturer which specializes in cinema lenses. At NAB 2019, DZOFILM showcased two prototype lenses – huge Foton optics 25-300mm T2.8 cine zoom lens for super35 sensors and 20-70mm T3.1 cine zoom lens for Micro four thirds. (The brand Foton is owned by DZO.) Here is a link to our NAB article with the video interview in case you missed it. Now, DZOFILM upgraded the 20-70mm cine lens and they are also introducing a new 10-24mm cine lens. What are the features of the updated and new lens? DZOFILM Linglung 20-70mm T2.9 and 10-24mm T2.9 Cine Zoom Lenses Back in April 2019 during NAB, DZOFILM showed this lens as a T3.1 lens, so I suppose they have redesigned the optics a bit to enable shooting at a faster T2.9 aperture. I can only hope the lens is not too soft at T2.9. Both lenses have an MFT mount, so they can be paired well with some popular cameras like the BMPCC 4K, Z CAM E2, or Panasonic GH5 and GH5S. DZOFILM 20-70. Source: DZOFILM Both lenses feature a constant aperture of T2.9, 270° focus rotation angle and 100° zoom rotation angle. The DZOFILM Linglung 20-70mm (40-140 full frame equivalent) T2.9 lens features 72° iris rotation angle and the 10-24mm (20-48 full frame equivalent) T2.9 lens features 58° iris rotation angle. There is a back flange fine adjustment ring on both lenses, which offers an adjustment of ± 0.3mm. There are 12 Iris blades in both lenses. Close focus distance is 0.79mm (2’7″) for the 20-70mm lens and 0.5m (1’8″) for the 10-24mm lens. Both lenses also have almost identical physical specifications. Weight will be approximately 1100g (38.8oz), the front diameter is 80mm and length is 153.3mm (20-70mm) or 150.9mm (10-24mm) According to the manufacturer, both lenses feature parfocal design (keeps focus distance when zooming) and well-controlled “nearly zero” focus breathing. Price and Availability Both DZOFILM cine lenses are available for pre-order. Retail prices during pre-order will be $1,499 for the 20-70mm T2.9 and $1,699 for the 10-24mm T2.9. An additional $100 discount will be applied if purchasing a set of both lenses. After pre-order, the regular prices should be $1,599 for the 20-70mm T2.9 and $1,799 for the 10-24mm T2.9. For additional information, please head to the DZOFILM site. What do you think of these new DZOFILM cine lenses? Could it fit in your kit? Let us know in the comments underneath the article.

FUJINON Premista 80-250mm T2.9-3.5 PL announced: FUJIFILM Corporation just recently introduced their newest Premista series lens to complement the 28-100mm T2.9 PL zoom lens released in August this year. Together they’re covering a wide range of nearly 10x zoom ratio from 28mm – 250mm to fully support large image sensors. They are intended to present some of the highest grade quality, rich gradation and suitability for HDR for cinematic purposes. Let’s take a closer look at its features. FUJINON Premista 80-250mm – Full View. Image credit: FUJINON The FUJINON Premista 80-250mm T2.9-3.5 was explicitly designed to cover large sensors that measure 43.2-46.3mm diagonally. The lens incorporates large-diameter aspherical lens parts and a sizeable 13-blade design that almost reaches a perfectly circular aperture shape. The intention is to create the highest possible image reproduction on the large image sensor, accompanied by a natural bokeh and a shallow depth-of-field to create a profound cinematic look. The latter is unique to large format in combination with high-resolution image sensors. Main Characteristics, Look and Line-up Consistency FUJINON usually implements patented or exclusively created technologies, techniques and systems in their lenses, just like their main competitors. In this case, they are working with their design of a zoom/focusing system to reduce chromatic aberration in long-range cinematic zoom lenses. This characteristic usually needs precise and individual attention in a complicated lens system for the highest purposes, like here. Additionally, FUJINON has applied its necessary procedures to minimize flares and ghosts responding to and abiding by cinematic standards. A lot of cinematic lenses are alleged by their manufacturers to have a particular level of sharpness or a certain degree in the spectrum of “vintage soft sharpness” and a somehow distinctive mellow look to them. On the contrary, in this specific case, Fujifilm claims to have reached stunning levels of sharpness and clarity with this cinematic lens. Thereby they are also highlighting that this lens is instead intended to produce film footage in naturalistic colours. This detail includes a representation of colour tones that properly fits in with other popular FUJINON series like the XK, HK, MK and ZK, instead of standing out from the host of available lenses. The latter is especially vital when working with multiple lenses on a single camera or shooting complex scenes with multiple cameras and thus requiring different angles. Therefore finally, FUJINON offers consistency amongst lenses across the board. It also simplifies processes in the colour grading suite and contributes to the value of their whole lineup that ultimately serves as easily interchangeable. FUJINON Premista 80-250mm T2.95 – 3.5 PL – Side View. Image credit: FUJINON Premista 80-250mm – Operability Features Since the Premista 80-250mm is a top-range product, it especially gives credit to aspects of operability, among others, that many directors of photography around the world fully expect from lenses in that price category. These include a Flange Focal Distance correction function with a ring, attached to the lens barrel that effortlessly adjusts the flange focal distance. The lens also sports a long rotation of the focus ring with 280 degrees, end to end. The latter is particularly crucial for precise focusing required by the shallow-depth-of-field characteristic of large-format lenses and within cinematic environments and exigencies to focus pulling in the film industry. To supplement that, the Premista 28-100mm and 80-250 share their essential measurements such as front diameter and iris, zoom and focus control gear/ring positions. Thereby the same configuration of follow-focus and matte box among other accessories is trouble-free interchangeable. FUJINON Premista 80-250mm – Focus, Zoom and Iris. Image credit: FUJINON The FUJINON Premista 80-250mm T2.9-3.5 comes with the “ZEISS eXtended Data” (firmware update required) conforming with the Cooke “/i® Technology” standard for lens communication and will be available this December. What do you think about the new lens? Would you like to see a version of it in the MK category of lenses? Please share with us your thoughts in the comment section below.