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.

The Heden FUJINON MK Zoom Servo brings you motorised control over the popular MK Zooms via the Smart Grip on the Sony FS5 and FS7. With a track record in the film industry since the 1960s, Sweden-based company Heden has pedigree in the market of lens accessories, having expanded from a core business in follow focus systems to wireless platforms. Recently, Heden was approached by FUJINON with the aim of creating a motorised controller for their new line of MK zooms – the FUJINON MK 18-55 and MK 55-135. The result is the Heden FUJINON MK Zoom Servo – a controller that not only gives you motorised control over the zoom, but also allows you to operate it via the native zoom rocker on the Sony FS5 and FS7/FS7 II Smart Grip. This does away with the need for an extra handle and rocker, keeping the system a lot more compact. For the Heden FUJINON MK Zoom Servo, the manufacturer decided to go back to its roots, building the design of the product from the ground up rather than adapting existing products. Heden decided to use motors featuring tried-and-tested technology that has proven to be rock solid for decades, deciding to keep things simple and reliable in the fine mechanics department rather than integrating bells and whistles such as integrated wireless receivers. Every lens out there is a little different in terms of the amount of force required to turn the zoom ring. Although the product has been designed with the FUJINON MK zooms in mind, Heden has left a margin in the power capability of the motor to potentially be able to drive other lenses as well. The Heden FUJINON MK Zoom Servo Kit consists of three components, namely a motor bracket, the motor itself and the motor driver, with the full kit retailing for €1,995. Heden is aiming to start shipping by November this year. Have you adopted the FUJINON MK zooms for professional use with your Sony FS5 or FS7? Could the Heden FUJINON MK Zoom Servo complete your setup? Let us know in the comments below!

The Canon XF405 is at the helm of a whole fleet of small-sensor camcorders just announced by Canon. 4K 50/60p – The Canon XF405 & XF400 At the forefront of Canon’s latest announcement are the XF405 & XF400, two videojournalist-style camcorders with a 1” 1.0-type 13.2MP CMOS sensor paired with a Dual DIGIC DV6 image processor. This combination makes it possible for these two models to capture a resolution of up to 4K, at frame rates of up to 59.94p. This means that – should you have the need – these cameras allow you to deliver 4K content for use in news broadcast environments in cases where 50fps is required, or to add a slight slow motion effect to your 4K footage. Both the Canon XF405 and the XF400 feature a 15x optical zoom with a full-frame equivalent range of 25.5-382.5mm, making it ideal for fast-paced news or documentary environments, but still offering an adequate shallow depth of field and low-light capabilities with a maximum aperture of f/2.8. Both cameras offer Canon’s excellent Dual Pixel Autofocus seen in their cinema line of cameras, as well as optical and electronic image stabilisation – another plus for dynamic, documentary-style shoots. Both cameras record AVC-HD and MP4 to dual SD cards – which allow for simultaneous or relay recording – in HD 8 bit  YCC 4:2:0 35Mbps, and in 4K 150Mbps. Additionally, they offer up to 120fps at Full HD resolution, and will be capable of recording in the XF-AVC codec after a firmware update coming in the first half of 2018. Both cameras offer an HDMI output, but only the XF405 offers SDI which, incidentally, is HD only (10 bit / 4:2:2) The difference between the two? That SDI output. Other features include two XLR inputs, 3-stage ND filter, as well as a 58mm front filter thread for the new WA-U58 0.8x wide-angle converter and TL-U58 1.5x Teleconverter, adding to the overall flexibility of these models. The two new converters. LEGRIA GX10 As a smaller sibling to the Canon XF405 and XF400, the new LEGRIA GX10 seems to fill the more consumer-oriented gap. Doing away with the top handle, this model loses some of its features such as manual audio controls and XLR ports, restricting microphone inputs to a single 3.5mm mini jack. However, the LEGRIA retains many of the important features under the hood, such as 4K 50p, 150Mbps bit rate, Full HD Slow Motion at 100Mbps and dual SD cards. XA15 and XA11 – The HD Counterparts In addition to the aforementioned cameras, Canon has also announced the XA15 and XA11, a couple of small camcorders with an HD CMOS Sensor and an earlier DIGIC DV4 processor. They can deliver Full HD recording in 50p at 35Mbps, and offer a 20x optical zoom with full-frame equivalent of 28.8-576mm. Like the Canon XF405 and XF400, they will offer 5-axis image stabilisation for dynamic yet stable handheld shoots. Are you in the market for a versatile small-sensor camera to add to you arsenal? Could these new Canon models fit the bill? Let us know in the comments below.

In this guest review, DP and Director Thomas Schweighofer takes a look at the Sigma Cine High Speed Zoom line during a documentary shoot with a RED EPIC-W Helium 8K. Please also read Graham Sheldon’s extensive review of both Sigma zoom lenses, which we published a few months ago.  I recently had the chance to shoot a documentary project in the US featuring Austrian musician Dominic Muhrer and American Superstar Joshua Ledet. In order to achieve a better image quality in this particular project, I wanted to get my hands on some of the new Sigma cine primes, but at that point in time it was just too early to get a set. Instead, the folks at Sigma contacted me and told me to test their Sigma Cine High Speed Zoom cine line. I agreed but, being so used to shooting with primes, I didn’t expect too much.  I will admit I realised my expectations were totally wrong the moment I held the 18-35mm T2.0 and 50-100mm T2.0 lenses in my hands. Their full-metal bodies, their size and weight, and their dust and splashproof build made a strong first impression. I immediately had the feeling the Sigma Cine High Speed Zoom range were lenses I could rely on. As far as my setup was concerned, I was shooting with my RED EPIC-W 8K Helium S35 camera and, of course, my MōVI Pro gimbal. I am not going go into detail about camera and gimbal settings – suffice it to say these are just workhorses, as you probably already know. Getting back to the lenses, as I said, I am used to shooting on primes exclusively. These include the Canon CN-E, ZEISS CP2 and Rokinon XEEN, as well as some more budget lenses like the Rokinon VDSLR and several stills lenses, which as you may imagine include the Zeiss Otus, Canon L series and Sigma Art series. There are a few good stills lenses for shooting video, but the problem is always ergonomics. The focus throw is just too short, and there are no focus hard stops or distance markings on the housing. You can forget about all those issues with the new Sigma Cine High Speed Zoom line. You really get the feeling of holding a big-budget cinema lens in your hand. But why exactly would the new Sigma High Speed Zoom line be of any interest in a market where Canon and ZEISS rule the stage? The first reason could of course be price. For the price of one of the zooms, around $4,000, you can get a single ZEISS CP2, for instance. If the Sigmas are cheaper, it is only in terms of budget, but certainly not as far as image quality is concerned. I had never tried to compare a zoom lens against a prime, but I can say I’ve never seen such a sharp lens that was so good at handling flares, ghosting and chromatic aberration, and all of that in a zoom lens and wide open at T2.0. You are probably already aware of the impeccable image quality that Sigma has been putting out with their Art series. The Sigma Cine High Speed Zoom line features the same glass and design. Interestingly, I’ve never seen such a perfect circular bokeh from a lens in a price range under $12,000. However, it is not just the bokeh that blows me away. When stopping down to T11 or beyond, you get the kind of starburst effect you normally only see on expensive Cooke or ZEISS lenses.  Shooting on a RED EPIC-W in 8K or 6K mostly at 100 frames per second, I really need lenses that are capable of holding up image quality at those kinds of pixel ranges. This means being able to shoot a 32MP, 8K image and be able to crop in 400% in post. Cropping 400% means you are still left looking at a native 4K frame out of my 8K footage. You won’t be able to do that on any other lens in a competitive price range – these lenses are really ultra sharp and I can’t imagine shooting on anything else until I have the budget to get lenses above the $30,000 mark. To summarise, I never expected to be satisfied shooting with a zoom lens, but that is exactly what happened. I am still waiting to get my hands on the Sigma Cine Primes as I’m excited about that extra stop between T2.0 and T1.5, full frame coverage, less focus breathing and the resolving power of a prime lens. However, I am still going to buy that 18-35mm T2.0, as this makes things a lot easier, especially when you are shooting documentary and don’t have the time to change lenses. Sometimes you just need to be ready to shoot whats in front of you, and having a variable focal length is a blessing.  This lens also makes total sense for shooting on a gimbal, mounting on a drone or a car rig where you don’t have easy access. Throw a second motor on there and you can remotely control focus and zoom, which means you can get different focal length shots almost instantly. Imagine having the drone in the air above a mountain top, getting your wide 20mm scenery shot at 8K, and then moving onto a 35mm, shallow-depth-of-field rotating shot around a cyclist. That is what I would call great comfort and efficiency. The film featured in this review is Climb Every Mountain, is produced by the Austrian producer and director Hannes M. Schalle from Moonlake Entertainment, and will air on ServusTV on 21st December 2017. You can find out more about it HERE. You can also see the teaser trailer below.

The popular and inexpensive Sony SELP18105G has received a firmware update to improve focus performance. The Sony SELP18105G has been a popular all-round lens among both photo and video shooters getting started in the Sony E-mount crop-sensor system. While the zoom doesn’t provide the image quality and features of some of its bigger, more expensive siblings like the Sony FE PZ 28-135mm f/4 G OSS for full frame or even the APS-C Sony E PZ 18-110mm f/4 G OSS Lens, for around $600 you can still get a workhorse lens that offers a very usable range, constant aperture of f/4, image stabilisation and even a zoom rocker. For this reason, it is quite common to see it paired as a kit lens with cameras like the Sony a6500 or the Sony FS5. The Sony SELP18105G on the FS5 Sony has just released a firmware update for the SELP18105G aimed at improving its focus performance, giving you yet another reason to consider picking one up. The official word from Sony is that this update will “provide improvements to the focus tracking accuracy and stability”. Sony may not be the most reliable of names right now when it comes to firmware updates, though, after they recently decided to pull the download of the latest firmware update for the Sony FS5 after some issues with the new HDR function. Fortunately, at least the update process is a lot easier than with third-party  lens manufacturers, as you don’t need to purchase an extra dock to implement new software. You can carry out the firmware update for the SELP18105G through supported cameras, which however exclude the The NEX-5, NEX-3, NEX-C3, NEX-VG10 and PXW-FS7. You can find the firmware update and installation instructions for the Sony SELP18105G here. Do you use the Sony SELP18105G for professional use? Let us know your impressions of the lens after updating the firmware in the comments below.