Zoom – the Japanese company famous for their portable audio recorders – just announced an upgrade to the Q2n audio-video recorder: the Q2n-4K. This device looks like a musician’s best friend, let’s take a look at what improved. Don’t Change A Winning Team The first Zoom Q2n was already a big success for Zoom. The Zoom Q2n-4K keeps the same form factor while adding 4K recording capabilities. This camera is made primarily for musicians and not filmmakers, allowing them to capture their stage performances, rehearsals and even make small music videos in 4K without having to lug kilos of audio and video gear. It could have been an excellent camera for vlogging, but it lacks a flip-out screen. 4K All-In-One Device Let’s dive a little deeper into the technical specifications of the Q2n-4K. The camera features a wide-angle (150 degrees) F2.8 lens, a digital zoom, auto gain control, HDR technology, and automatic exposure adjustment. It records MPEG-4 (MOV) files onto microSD / SDHC / SDHX card and can capture images in 4K up to 30 fps (as well as 720 and 1080p). You’ll have the choice between five different FOV options if you want to make your shot wider or tighter. Also, the camera offers 12 predefined scenes to help novice users to better adapt to different lighting. Thanks to two microphones configured in X/Y (120 degrees) that overhang the lens, you’ll be able to capture stereo sound. The microphones are pretty robust as they can handle loudness up to 120 SPL dB. If you only want to record the audio, you can do it in WAV up to 24bit/96kHz. The Q2n-4K is Mac and iOS compatible as an audio interface, and 4K webcam on macOS. Also, you can live-stream on social networks. Simple Ergonomics On the back of the Zoom Q2n-4K, you’ll find a 1.77″ (160 × 128) LCD. Don’t blame it; it’s only for framing purposes on-the-go and menus I suppose. On each side of the screen, there are six buttons in total: 3 for the video settings on the left, 3 for the audio settings on the right. Each button gives you access to the corresponding sub-menu: Video/FOV/Scene and Lo-Cut/Audio/Auto-Gain. At the bottom of the screen are three buttons for the essentials Play/Record/Stop functions. On the left side are the headphones control, a 3.5mm jack input, and output. On the right side, you’ll find the micro-HDMI output and the micro-USB port that you can also use for powering the device. Speaking about power, the Q2n-4K runs on 2 AA batteries, that should provide power for around 2 hours. A mono speaker is integrated, in case you need to check that you recorded the sound, but don’t expect a proper quality sound from it. The device is relatively small, measuring only 58.7 mm x 68.5 mm x 83.0 mm for a total weight of 124g. Optional Accessories When purchasing the Q2n-4K, it only comes with a lens hood, the lens cap, and two AA batteries. A wide range of accessories is already available to expend the device usability, including: BCQ-2n battery case to improve the battery life up to 4X WSU-1 universal hairy windscreen HS-1 hot shoe mount MA2 tripod to mic stand adapter AD-17 AC adapter ACM-1 action cam mount SCU-20 universal soft shell case MSM-1 mic stand mount (ACM-1 is required separately) The Zoom Q2n-4K should be available this month, and you can already pre-order it. What do you think about the specs of the Zoom Q2n-4K? Do you think it’s useful for musicians? Let us know in the comments down below!

SIGMA just announced the release of 5 new lenses, two of the them telephoto zooms, featuring newly developed lightweight magnesium build and different options for various mounts and sensor sizes. The lenses are from the famous Art series, as well as the Sports and Contemporary series.  Art Series Lenses SIGMA 28mm F1.4 DG HSM Further expanding the Art series on the wide end, the SIGMA 28mm F1.4 DG HSM features a rather complex construction with 17 elements in 12 groups, with two low dispersion elements cutting down on chromatic aberration and 9 blades in the aperture. It has a manual focusing override on the barrel and a focusing distance indicator. Minimum focusing distance: 28cm / 11in. Mounts: SIGMA, Nikon, Canon, Sony E-Mount Sensor coverage: Full frame Weight: TBD   SIGMA 40mm F1.4 DG HSM With 9 rounded aperture blades and 16 elements in 12 groups the 40mm F1.4 DG HSM is denoted as being specifically made for extremely high resolution scenarios, like photography above 50MP and video in 8k. It features the same low dispersion elements as the 28mm does. It as well has a manual focusing override on the barrel and a focusing distance indicator. Minimum focusing distance: 40cm / 15.7in. Mounts: SIGMA, Nikon, Canon, Sony E-Mount Sensor coverage: Full frame Weight: 1200g / 42.3oz.   Sports Series Lenses SIGMA 70-200mm F2.8 DG OS HSM The optically stabilised 70-200mm F2.8 DG OS HSM completes SIGMA’s lineup of fast standard zooms, as it joins the 14-24 F2.8 DG HSM Art and the 24-70mm F2.8 DG OS HSM Art, which were already released. It has 24 elements in 22 groups, with 11 rounded aperture blades, providing excellent out of focus rendition and bokeh. The lens comes with a non-detachable Arca Swiss compatible tripod socket, manual override switch and a focus limiter on its body. There is also a customisable button and a focusing distance indicator on its barrel. Minimum focusing distance: 120cm / 47.2in. Mounts: SIGMA, Nikon, Canon Sensor coverage: Full frame Weight: 1805g / 63.7oz.   SIGMA 60-600mm F4.5-6.3 DG OS HSM SIGMA seems hellbent on expanding the really long telephoto end of their lineup. The 60-600mm F4.5-6.3 DG OS HSM joins the 150-600mm F5-6.3 DG OS HSM Sports and the 150-600mm F5-6.3 DG OS HSM Contemporary, being the world’s first 10x superzoom to end at 600mm. It has a complex construction with 25 elements in 19 groups, non-detachable Arca Swiss compatible tripod socket, manual focusing override and a focus limiter. It is intended to be a more versatile extreme telephoto zoom, with the rather standard wide end making it possible not to switch lenses all the time. Minimum focusing distance: 60-260cm / 23.6-102.4in. Mounts: SIGMA, Nikon, Canon Sensor coverage: Full frame Weight: 2700g / 95.2oz.   Contemporary Series SIGMA 56mm F1.4 DC DN SIGMA’s 56mm F1.4 DC DN is the next to join the 16mm F1.4 DC DN Contemporary and the 30mm F1.4 DC DN Contemporary, being aimed mainly at Sony APS-C shooters. On APS-C sized sensors the lens works out to be a roughly 85mm portrait focal length, with 9 rounded aperture blades promising smooth, round bokeh. Minimum focusing distance: 50cm / 19.7in. Mounts: Micro Four Thirds, Sony E-Mount Sensor coverage: APS-C Weight: 280g/ 9.9oz.   All of the lenses above are compatible with the USB Dock and the MC-11 Adapter. We’ll keep you posted on pricing and availability once the lenses are launched.   Ramping up Production with a new Factory In other news, SIGMA just announced a new state of the art facility specialising in magnesium alloy processing, thus bringing this step of their production process in house. The new facility has already provided the magnesium alloy parts used in both zooms mentioned above. With the new L-Mount-Alliance announced at Photokina, the ability to ramp up their production with less dependency on other parts vendors could prove valuable to SIGMA. Are you excited about the new SIGMA lenses? Which one would you buy to expand your collection? Let us know in the comments!

FUJIFILM is in the process of significantly expanding its range of interchangeable lenses for mirrorless cameras. Next up is the FUJINON XF 8-16mm f/2.8 zoom lens. It is due in November, but some specifications have already been published. Let’s take a quick look at it! The new FUJINON XF lens seems to be a pretty impressive ultra-wide zoom with a consistent f/2.8 aperture throughout its zoom range. Apart from this lens there’s another yet to be released lens: The FUJINON XF 200mm f/2 along with a new 1.4x teleconverter. FUJINON XF 8-16mm f/2.8 This  lens is not quite ready for shipping, yet. But, and that’s part of this post’s purpose: We have a prototype of the lens at the office and certainly will put it through its paces. Until then, let’s look at the specs of this upcoming ultra-wide zoom. First up, this lens sports a FUJIFILM X-mount, obviously. If we want to convert the focal length range to the “normal” 35mm equivalent, we have a zoom range of 12mm to 24mm. The FUJINON XF 8-16mm f/2.8 zoom consists of 20 elements in 13 groups and that includes 4 Aspherical elements, 3 ED (Extra-low Dispersion) elements and 3 super ED elements. The whole thing weights 805g and is 121.5mm long while the lens diameter measures 88mm. Lens elements and rubber weather sealings (shown in green). The iris is made out of 9 rounded blades which can be adjusted in 1/3 EV steps. Minimum focus distance is 25cm, measured from the film plane, so don’t expect a macro lens here. Auto focus is also available, of course and, according to FUJIFILM, it’s high-speed and quiet. Let’s hope it is! There’s also a decent amount of weather sealing going in in this lens, so it seems to be a perfect companion for some serious outdoor shooting. FUJIFILM claims it will be fully operational down to -10°C/+14°F. Pricing This lens is already listed on B&H and as we approach this years November you can get the FUJINON XF 8-16mm zoom for about $2.000. The other new lens, the FUJINON XF 200mm f/2.0, a 200mm prime with an impressive f/2 aperture will be available in November, too. The kit with the lens and the 1.4x teleconverter won’t be cheap: almost $6.000 need to be spend. If you are into video shooting, the perfect companion for these lenses, the FUJIFILM X-H1 mirrorless camera, sells for about $1,650. Links: FUJIFILM Blog | Lens Roadmap Are you a FUJIFILM shooter? Let us know what you think about the addition of this new wide angle lens in the comments below!

Bridge cameras aren’t exactly the headliner topic ’round here. However, we have to make an exeption for the new Nikon COOLPIX P1000. Its massive 125x zoom range is just too impressive to ignore. So let’s dive in and explore this compact, yet powerful little camera! The COOLPIX P1000 is a so-called bridge camera. More than a pocket-sized point’n’shoot camera but less than a full blown DSLR. The Nikon sports a fixed lens but that lens is quite a piece of glass, indeed! Nikon COOLPIX P1000 The built-in lens offers a zoom range of 4,3mm – 539mm, that’s a factor of 125. Still not impressed? Well, these figures refer to the somewhat tiny sensor size of 1/2,3″. If we translate the numbers to a standard 35mm sensor, we end up with much more impressive values: 24mm – 3.000mm. That’s not a camera, that’s a telescope! There must be a catch, right? Well, there is: The F-stop drops from f/2.8 down to f/8 over the zoom range and the image circle is not the biggest since the 16MP CMOS sensor isn’t the biggest either. Such focal lengths scream for some kind of stabilization and that’s exactly what Nikon has put into the COOLPIX P1000: optical image stabilization. If you are serious about (distant) wildlife or plane spotting, you might want to add a decent tripod to your kit, though. In terms of video, this camera offers 4K (UHD – 3840 x 2160) in 30p or 25p and 1080p in up to 60 (50) frames. Effective ISO ranges from 100 – 1600. Furthermore, this little guy offers a clean video out via micro HDMI and an audio in for external microphones. But, as seen so many times before, no headphone jack can be found. That’s a pity and I really don’t understand why manufacturers continue to implement an external mic port but withhold the accompanying headphone jack. The 3.2″ screen on the back can be swiveled to your liking, just like you can with the Panasonic GH5, for example. If that’s not your thing, there is an OLED with a decent resolution of 2,36MP, too. The camera records to SD, SDHC or SDXC cards and videos are recorded as h.264 mp4 files. The camera weights around 1415g and that’s with an SD card and with a battery. That battery lasts for around 1:20 hours when filming. Pricing and Availability The Nikon COOLPIX P1000 will be ready for delivery around  September 2018. The price will be around $995. This is a pretty impressive piece of equipment. Especially if you want to get that perfect shot of a distant lion walking into the sunset but don’t want to bring tons of equipment. The image quality isn’t the very best compared to proper digital cinema cameras, obviously, but as they say: The best camera is the one you have with you. And due to its size and weight the COOLPIX P1000 might be just that camera. Links: Nikon.com What do you think of this camera? Is it worth a closer look? Share your thoughts in the comments below!

Teradek, a member of the Vitec group, has unveiled the latest addition to its lineup of wireless tools for on-set duties: the Teradek RT line of products is here to control your lens wirelessly. The Teradek RT line of lens control equipment pushes the door wide open for a new market. This time, it’s not about video but lens control, both wireless of course. At the heart of this new lineup of products lies another member of the Vitec group: RTMotion. These devices are now labelled Teradek RT, and integrate seamlessly into existing solutions by Teradek. The Teradek RT System The whole lineup consits of three major categories: Motor, receivers and controllers. Regarding the motor, you’re already set: there’s just one model, so no difficult choices to be made here. .The MK3.1 motor features all the good stuff: fast, accurate, and quiet yet powerful and smooth operation. Since it’s a brushless vector design, Teradek claims a 4x service life compared to brushed motors. The motors can be used with either 15mm or 19mm rods (plus height adjustment), and the drive gear can be mounted on either side. They offer adjustable compensation for zero-backlash, and a max torque of 2.2Nm. The unit itself is only 115mm x 40mm x 26mm, at 212g. Add a trio of these motors to your rig and enjoy full outboard FIZ (focus, iris, zoom) control. These Teradek RT MK3.1 motors connect to their data-receiving hub. Now we do need to talk about choices… Teradek RT Receivers The receivers get lens control commands over-the-air from the controller in the 1st AC’s hand. Depending on your camera and setup, there are four different models to choose from: The Teradek RT MK3.1 receiver is the most universal one. It is not bound to a particular camera, so it can be used for any rig you have. Just attach it via standard 1/4-20 screws and connect it to up to three MK3.1 motors. It accepts power via 4-pin Hirose, while another 4-pin connector offers start/stop capabilities for all major camera brands such as ARRI, RED, Canon, Blackmagic, Sony or Phantom. The integrated FHSS 2.4GHz radio has a range of up to 1500m (line-of-sight outdoors) and 150m indoors. The Latitude line of receivers, however, are a little different. They are purpose-built to integrate with RED DSMC(2) cameras. The smallest receiver, the Latitude M, appears to be the perfect companion for applications with limited space and weight, such as drone shots. It’s a 2-channel receiver which offers all the features of the MK3.1 unit (minus one motor) but with an extended feature set. It comes with built-in 2.4GHz WiFi for the FoolControl app and advanced RED camera integration, providing EF/AF lens control, shutter, ISO, and button features (2x magnification, edge, focus assist). The Latitude M can be used with other cameras as well, but you won’t get the extended features. The Latitude MB is identical to the Latitude M, but offers a built-in LP-E6 battery plate for powering the unit directly. Again, this unit can be used with any camera, but only unleashes its full potential when used with a RED system. The Teradek RT Latitude Sidekick is a 3-channel receiver with integrated RED camera control. The receiver attaches seamlessly to the side of any DSMC2 camera and is compatible with the RED Sidekick module. Again, this unit integrates deeply with the RED ecosystem and can be controlled with the FoolControl app. Wireless Controllers Again, more choices! In term of controllers, there are three models to choose from: A 4-Axis MK3.1 hand unit, a 6-Axis version, and a so-called Smartknob for both wired and wireless operation. The 4-axis controller takes care of up to four axes of lens control: knob, slider and wheel A & B. Furthermore, the unit sports an OLED screen for easy-to-read settings like lens calibration and start/stop marks. As an upgrade, the 6-Axis version adds a Forcezoom thumbstick (red) which allows to pull off smooth zoom adjustments while shooting. Each 4-Axis unit can be upgraded to a 6-Axis version. The unit has to be sent in for that, though. Last but not least, you can opt for the Smartknob. When used with RED DSMC(2) cameras, there’s no need for a receiver module. The Smartknob can control focus/iris on EF and Nikon lenses via their internal motors. Six mappable buttons can be used to control shutter, ISO or tools like 2x magnification (again, on RED cameras only). A MK3.1 motor can be controlled as well, but you’ll need a receiver module to plug it in. The Smartknob can also be used as a wired unit for dedicated axis hand-off or as the wired primary controller. No RED camera is needed for this to work. The Future of Teradek This system might be the perfect companion for the SmallHD 703 Bolt monitor with integrated Teradek receiver. We’ll see how Teradek develops this new strategic route. The company seems to be sticking to its core competence of wireless transmission, but is clearly pushing for a higher goal: to offer a wireless solution for everything you need on set, all from one manufacturer. Sounds like a good plan to me! Links: Teradek Website | blog post What kind of a system do you use for your daily FIZ routine? Could the Teradek RT line be an alternative? Let us know your thoughts in the comments below!

The Zoom F1 is a very tiny, yet very versatile little guy. It’s a pocket-sized audio recorder which can be fed with everything from a lavalier mic to mono or stereo shotgun mics and even a mid-side stereo module and a dual XLR/TRS input module is available. Let’s have a look! The pocket-sized Zoom F1 can do more than just record 24bit/96kHz sound from a lavalier mic, it actually features the same proprietary 10-pin connector which can be found on higher-priced Zoom audio recorders. Zoom F1 Audio Recorder There are two models available, but the only differences are the included accessories. This should prove the extreme versatility of the Zoom F1 recorder. You can choose between a lavlier equipped bundle or a kit with a shotgun mic. Zoom claims that all of their clip-on modules are compatible with the F1. All seven (!) possible mics and modules which can be used with the Zoom F1. Let’s have a look at the official videos made by Zoom in order to get an idea of how this tiny thing works. First up: Zoom F1 in conjunction with the lavalier mic attachment: All the neccessary functions are laid out on the front of the unit, no deep menu-dives required. The Zoom F1 records up to 24bit/96kHz to WAV files or to various flavours of mp3. All recordings are written directly to a microSD card as a stereo file which can be edited in post easily. A handy lock switch prevents your talent from accidentally altering any settings while recording. When using the Zoom F1 as a host for a shotgun mic, the situation is a different one. Now you can mount the unit directly to a DSRL for example and get both, internal recording and audio out to the DSLRs audio input. If that camera of yours lacks a headphone jack for monitoring audio, the Zoom F1 has got you covered, too! Watch the video below to see the F1 in action: So we’ve got two different devices in one box here. Whatever you’re up to with the Zoom F1, it won’t let you down. With 2 AAA batteries you’re good to go for up to 10 hours of operation (with lavalier mic). Since the shotgun mic uses plug-in power, it will squash the batteries faster. Features of the Zoom F1 In addition to the already cool features, the Zoom F1 has some more tricks up its sleeves. When using a micro USB cable you can connect it to your computer in either thumb-drive mode for data exchange or in audio-interface mode. With this special mode engaged you can record directly to your computer. Another cool feature is the pre-record function. Two seconds of continuous recording can be buffered before even hitting the rec button. The 1.25″ monochromatic display is viewable even in direct sunlight. Check out the following list for a full rundown of the specs: Two-channel audio recorder Compatible with Zoom microphone capsules Supports up to 24-bit/96 kHz audio in BWF-compliant WAV or a variety of MP3 formats One-touch button controls 1.25” monochrome LCD display Rec Hold function to avoid accidental operation of buttons Stereo ⅛” Mic/Line In mini phone jack with Plug-in power (2.5V) Stereo ⅛” Phone/Line Output jack with dedicated volume control Built in limiter and auto level control to avoid clipping Pre-Record function Tone generator for calibrating audio levels between the F1 and a DSLR or video camera without the need for an attenuator cable Sound marker function that outputs quick tone to make syncing audio and video easy Records directly to micro SD and SDHC cards (class 4 or higher) up to 32 GB ​Micro USB port for data exchange to and from computer and use as an audio interface with computer or iOS device ​Runs on only 2 standard AAA alkaline, Lithium, or NiMH rechargeable batteries, or AC adapter (AD-17) Up to 10 hours of operation with alkaline batteries (when using lavalier) Pricing and Availability There are two sets available. One comes with a lavalier mic, a lavalier clip and a belt clip. This set sells for $199.99 and should be available soon. If you want to go run-and-gun with your DSLR, you should probably check out the other kit. That one comes with a SGH-6 mono shotgun mic module, a shockmount, a windscreen and a cable for connecting a DSLR. This kit sells for $249.99 and should be, again, available soon. As per Zoom, every modules available can be attached to the F1, even though it’s not listed as a compatible device on their own product pages. Let’s see how the EXH-6 dual XLR/TRS combo input capsule works with the F1, for example. Hopefully it has enough power to drive the attached mics! Links: Zoom (lav) | Zoom (shotgun) Do you use any Zoom products? Share your experiences in the comments below!

Zoom have upgraded their popular entry-level audio recorder, the H1. The all new Zoom H1n comes with a bunch of new features and refinements, especially for indie video shooters. Let’s have a look, shall we? Upgraded looks. That’s the first thing you’ll notice when examining the new Zoom H1n audio recorder. But the company didn’t stop just there, the engineers plunged deep into the H1 and upgraded the inner workings quite a bit. As a result we see a polished new housing, repositioned buttons and lots of new features. Zoom H1n Audio Recorder The original H1 recorder was very small and compact and so is the new Zoom H1n. The size and weight remains almost the same while the housing has evolved. This device is meant to be put in your pocket and carried wherever you go so you’re always ready to record something without adding any bulk to your bag. the new Zoom H1n (top) vs the now discontinued H1 (bottom). The biggest advantage to me personally is the fact that all the controls now can be found right on the front of the Zoom H1n. There’s now a dedicated dial for levelling the incoming signal, too. For such a device I always prefer more dedicated buttons and dials than less controls and a time-consuming menu structure. Watch the introduction video below for a quick rundown of features: Stereo X/Y 90° mics are on board but this entry-level recorder doesn’t feature any XLR connections. However, it does sport a ⅛” Mic/Line In jack so all you need is a powered mic in order to record external audio. The device provides up to 2.5V plug-in power. A headphone/Line Out jack can be found on the other side so a DSLR without any headphone out shouldn’t be an issue anymore. Features The Zoom H1n comes with some interesting new features for musicians and video shooters alike. For example, a new tone generator makes it easy to set your camera’s audio levels and to sync your recordings in post. You now can set the device to auto-record or pre-record, too. Check out the full list of ne features here: One-touch button controls Stereo X/Y 90˚microphones handle up to 120 dB SPL 1.25” monochrome LCD display Stereo ⅛” Mic/Line In mini phone jack Stereo ⅛” Phone/Line Output jack with dedicated Limiter button for input signal up to 120 dB SPL Playback Speed Control, Voice Emphasize Filter, and Stereo Bounce functions Auto-Record, Pre-Record, and Self-Timer functions Supports up to 24-bit/96 kHz audio in BWF-compliant WAV or a variety of MP3 formats Tone generator for filmmaking use with DSLR and video cameras Records directly to microSD and microSDHC cards up to 32 GB Micro USB port for data exchange to and from computer and use as an audio interface Runs on only 2 standard AAA alkaline, Lithium, or NiMH rechargeable batteries, or AC adapter (AD-17) Up to 10 hours of operation with alkaline batteries While a single AA battery was needed for the older H1, the Zoom H1n demands for 2 AAA batteries. These will juice the recorder for upt o 10 hours. For the sake of our environment you should use rechargable ones, of course. Just as the H1, the H1n records supports up to 24.bit/96kHz audio in either WAV or mp3 (up to 320 kbps) formats. Also, the Zoom H1n can be used as an USB audio interface for your DAW of choice. Free versions of Steinberg’s Cubase LE music production suite and WaveLab LE audio editing software are bundeled with it. SD cards (class 4 and up) are used for recording, the device will take cards up to 32GB. Check out the following chart for avarage recording times: A single (and inexpensive) 32GB microSD card will record up to 15.5 hours worth of high quality 24bit/96kHz WAV audio. Not bad! Pricing and Availability The Zoom H1n sells for only $119.99 and is available now. It replaces the older H1 model, which has since been discontinued. I think this is a worthy successor to the H1 recorder, especially for the price. With the new tone generator on board it could be a very capable companion for low-profile DSLR shoots. Or just take it with you wherever you go and capture some sounds for your upcoming edits. link: Zoom Do you own a Zoom audio recorder? What do think of this tiny device, is it worth an upgrade? Let us know in the comments below!

The new Duclos LWZ.3 Motor Bracket from the lens specialist company is its latest addition to its motor bracket range, and is made specifically for the ZEISS LWZ.3 21-100mm. Constructed from billet aluminium, the new Duclos Lenses LWZ.3 Motor Bracket provides a sturdy motor mount atop the lens. The Duclos LWZ. bracket features a seamless 32-pitch focus gear extension, and will work with the popular Heden M26T Zoom Motor too. This is great news for ZEISS LWZ.3 lens users who need a solid motorized zoom rather than relying on manual operation. The compact design will also work very well when the lens is rigged as part of a camera system, whether that is for documentary style shooting or high-end productions. The exclusive design will follow the quality line of motor brackets from Duclos that has been used on many cinematography lenses, such as the Canon Compact Zoom. The motor bracket is retailing for $525.00. For more information about the Duclos Lenses LWZ.3 Motor Bracket, check out the website here. Will the Duclos Lens LWZ.3 Motor Bracket fill your need for motorized zoom functionality? Let us know in the comments.