• Sony 18-105 F/4 is a good contender, but its limitations are softness at the zoom extremes, and 18 is not very wide. It also has a very poor close focus distance.

• Zeiss 16-70 F/4 is sharp, and this may be the best option. Unfortunately its max aperture is also F/4.

From my understanding, neither sigma, tamron, nor tokina make E mount fast standard zooms. Have I missed any obvious contenders?

PR

Thales Angenieux, in collaboration with Band Pro Film & Digital Inc., and Jebsen Industrial Technology Co. Ltd., announces at IBC 2016 a new range of zoom lenses – the Angénieux Type EZ Series – two fast and light weight zoom lenses integrating an innovative modular design (Interchangeable Rear Optics IRO technology™) to cover S35 mmm and larger image formats for cine and broadcast productions.

Designed for both Super 35mm digital motion picture cameras, and FF/VistaVision cameras, the new Angenieux Type EZ series has been created to fill the wide gap between still photography zooms, and the highly acclaimed OPTIMO / OPTIMO STYLE family of lenses used in the motion picture industry. For the first time, ENG-style productions will get the flexibility necessary for run-and-gun shooting, combined with high optical quality at an affordable price.

The Angenieux Type EZ Series features two new fast and light weight zooms, both lenses allow the rear lens group to be exchanged between S35mm (up to 30mm image diagonal), and FF/ VistaVision formats (up to 46mm image diagonal).

The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.

The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. Byexchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal.

Both lenses are built in a full metal casing, with internal thermal drift compensation, which allows focus to remain constant when the temperature changes. Focus / Zoom / T-stop can be controlled precisely due to the wide rotation angle of the 3 control rings, which are also equipped with cinema industry standard gear teeth. The lens size remains consistent across the zoom range due to the internal focusing & zooming mechanism. Users can easily configure these lenses to support different imaging formats (S35 or FF/VistaVision), and different lens mounts (PL, EF, or E) on their own, without returning their lenses to service centers.

Full frame EZ zooms will fit RED 8K VV, Red cameras recording at resolutions higher than 5.5K, ARRI Alexa Open Gate, ARRI Alexa 65 with VistaVision crop and also Full Frame DSLR cameras such as SONY a7S Mark II, Canon EOS 5D Mark IV, 5DS, 1DX Mark II…and more to come. Detachable ENG style zoom servo grips and other accessories are being developed by third party manufacturers .

The Type EZ series will address the requirements of independent videographers and cinematographers, who are seeking for cost efficient tools that enable cinematic expressions. The exceptionally fast T2 lens opening provides tremendous control of depth of field, only previously found in prime lenses. Thanks to the Angenieux innovative system, the ability to convert lens mounts, and the image circle size makes the Type EZ lens series a solid investment to all industry professionals.

“Being the worldwide leader in premium quality cinematography zoom lenses, it’s critically important for Angenieux to address the ever-growing, affordable digital motion picture camera market.”, noted Pierre ANDURAND, CEO of Thales Angenieux. “The challenge is to provide a cost efficient, professional quality lens that can be used on both current S35 cameras, and future cameras built around larger imaging sensors”.

“Type EZ lenses are one of the fastest zooms in the industry with an open aperture of F1.9 or T2. When converting the image circle between S35 & VistaVision, the field of view remains fairly identical, so there are no crop factors to worry about. The wide zoom can be used as a wide zoom regardless of the image circle size.” says Christophe REMONTET, Thales Angenieux Product Line Manager.

Deliveries are expected to start from the 1st quarter of 2017 through selected distribution partners.

I'm considering upgrading from a GH2, mainly due to the slightly better audio abilities of the GH4 (headphone jack, 3.5mm input). I shoot a tonne of interviews so it would come in handy. I've just got a few questions about the GH4 which I'm finding difficult to find answers on...

FYI: the audio devices I'll be using with the GH4 are the Rode Video Mic Pro or a Sennheiser wireless lapel mic (e3 kit).

1. Is it possible to adjust audio levels via a function button or some kind of PHYSICAL button on the camera?
2. If not, is the touch screen audio level adjustment actually useable during shooting or is it very fiddly?
3. Assuming I buy a GH4 that doesn't have the buzzing issue, is the audio quality acceptable?
4. Are there any random quirks to the audio of the GH4 I should know about?
5. Does the GH4 have any issues like the GH2 where the audio levels change slightly once the 'record' button is pressed?
6. How is the audio level meter? Is it accurate / helpful etc...?

I'd be keen to hear from anyone shooting and recording audio with the GH4 and get their feedback and opinions. It'd be great to ditch the Zoom H4n recorder that I use with the GH2.

Cheers!

I am looking for a decent zoom lens (Standard range, 24-70 for example) that covers a full frame sensor and has non electrical manual focus for use with a follow focus. I don't need auto focus but it wouldn't hurt either.

Is there such a thing?

Thanks!

So, which one correspond to this ? I have a RJ Nikon to mf3 adapter (an old version). But what else is out there and are they worthwhile ? What other change the RJ adapters offers now and is it worth the change ?

Thanks to answer

RARE: 16-160MM CONSTANT F/2 M4/3 CINEMA SPEED LENS IMMACULATE CONDITION

1. INFINITY FOCUS. The lens is made "parfocal", providing proper infinity focus. Minimum focusing distance with this lens is about 3 to 4 feet.

2. PRECISION GLASS. Manufactured in Japan, this zoom precision lens is nearly perfect in optical quality. As the photos demonstrate, the glass on this lens is stunning, though it only resolves 1080p.

3. PARFOCAL. With most zooms you lose focus as you zoom the lens. However, this lens maintains perfect focus throughout the entire zoom range of 16mm to 160mm. (See photos straight off GH2)

4. ZOOM. The zoom throw on this lens is about 55 degrees, the zoom barrel is tight with no play. It is smooth and a pleasure to shoot with.

5. VERY FAST. This is a constant F/2 lens which is an exceptional low light performer. An 8 blade aperture produces a nice round bokeh. The declicked aperture for silent, butter smooth operation. Aperture throw is 45 degrees.

6. NO VIGNETTING. As set up and tested on the BMPCC and the GH4 in 4K in UHD, there is no vignetting anywhere on this lens. This lens covers the 4K image circle on the GH4, but it only really resolves 1080p resolution, you need Canon Cinema lenses to resolve 4K… As you consider, remember that this lens has a CONSTANT aperture of f/2 all the way out to 160mm! Please be aware, the lens has better sharpness at F/5.6... F/2.0 wide open, like any lens, is relatively soft.

If you are interested in purchasing this lens from me, please send me a PM or contact me below... This lens is valued at $500USD, but I am willing to sell it for $400USD and free shipping because I know people like good deals! Besides, I need to buy a Canon XA35 so this lens will no longer be needed by me. You win!

Please visit https://www.dropbox.com/sh/6qy72l557o3h9em/AABsnc2nzu38jiwa8ZyhjgA4a?dl=0 for high resolution photos.

Contact: Brennan Kirkpatrick brennan@infinichair.ca 613-466-0222

$1,400 OBO.

The Tamron is in Mint Condition. I'm just not a zoom person, and honestly I prefer to shoot wide, this was more of an event/coverage lens and I just don't do that kind of work anymore. Practically new condition.

$950 OBO.

Both items are in LA, but will ship worldwide.

PM me if you have any questions or are interested!

When I connect these mics to XLR ports with Rode's XLR adapter, there's an annoying signal sound, it's not hiss/humm, something else. When I use the 3.5 connection on the X/Y adapter of H6 with plugin power, this noise is still there.

ATR3350 has its own battery, so I don't think it's about phantom power (however I shut the power down). Also I realized when I touch the USB connection of H6 at right with my finger, the noise reduces (really weird). Same happens when I touch to the metal plate on the front face of the device as well. Somehow, my hand is stopping the noise.

When I connect these mics to Zoom H1, there's no noise. I contacted with Zoom product service, had a reply to my email, then they stopped talking with me. "Kind reminders" didn't work.

My only options for now are these devices and for a long time I'll not be able to afford a wireless transmitter. Here you can find a sound record demonstrating my problem, sorry for my weak English and moaning voice :) http://1drv.ms/1PWQCIh

Any solutions?

For product specification, pricing, availability and business matters please visit my web site below as a matter of courtesy to our host.

http://www.transferconvert.co.uk/cinemania/

The vintage look digitally remastered...

I have a vimeo channel set up for the tests here:

https://vimeo.com/channels/rectilux (passwords are on the web site)

I also have a flickr account set up to view stills, which is the best way to evaluate sharpness etc

http://www.flickr.com/photos/125986580@N05/sets/72157646313357302/

I will shortly have a blog up and running, but you are very welcome to discuss these breakthough products here.

http://transferconvert.co.uk/cinemania/3ffpic09.png

The Juicedlink doesn't have headphones input. However, the Zoom H1 does. Can I monitor the sound via the Zoom then? And in which way will this be a reliable headphone output volume? Do I need special cables? Or ways to set the Juicedlink pre-amp?

Help will be appreciated

Matt

After some reasearch I found out I am not alone. H4n seems to have a cheap PreAmp and NTG-2 low recording level too. At the moment my bugdet is low too so what would be best to improve the situation? Buy a new affordable mic? A preamp like Rode D Power Plug or TritonAudio FatHead? It should be a portable, battery powered and able to be handled easily by one person (the one with the boom)

Thanks for sharing your experience.

Do you guys think this is the best value I can get for around $1000? I really can’t spend any more than that. Should I just get a better recorder and ditch the preamp? Also would be interested to hear opinions on Tiny Box vs MP-1. Your advice is appreciated.

So, I am looking to have a few things sorted out in the sound dept. for a doc I am working on. I have decided that the subjects will have lavs with Tascam DR-05 recording on 16GB cards (enough space for the 12hrs or so quoted by Tascam on battery life with Eneloop Pros) I can't afford wireless, so the recorders are the best combo right now for lavs (opinions welcome on this) I heard samples of Zoom H1 vs the Tascam and the Zoom has too much hiss to my taste.

On camera:

This is where I am finding a bit of a hard time deciding. I want a compact kit (preferably without a rig)

Kit 1: Roland R-26 using all of its mics recording to their own independent channel (thats 2 omnis + XY) AT875r recording into the Roland R26 Since this test showed that the Roland has a bit of a hiss, I thought that using a Fethead attached the already short AT875r will give me a lower noise floor.

• Omni + XY + Shotgun channels to mix in post along with the lavs. --For this kit, I would need to get a cage to have both the Roland and the Shotgun mounted on the GH2.

Kit 2: For a lower price as the above: Zoom H6/H5 w/ SSH-6 mic. This module mic is a XY and short shotgun at the same time, which (with Zooms software) you can then choose how much of each set (XY and shotgun) you can have in your final mix later.

Sample of software and mic tests:

• on this one is that the AT875r takes the bench of gets sold because the module replaces it. The recorder mounts directly on the hotshote (no cage, or rig)
• Not enough samples from the SSH-6 mic out there, especially indoors and with dialogue, so it's a bit of a gamble and I don't know how well the noise floor will be with that combo. -/+ XY and Shotgun only left to mix later in post with the lavs. Hearing samples from the Omni+XY+Shotgun on the Roland leaves me with a bit of nice feeling.

Kit 3: The original kit I imagined I would get.

Tascam DR-70D AT875r

• cheaper than both above
• Dr-70D pre-amps are very nice but could also compliment them with a Fethead
• DR-70D built-in mics may be stereo...but they don't really give a stereo feeling so kind of pointless and the main reason for me to look at the above

That's pretty much what I have right now as options.

I also read about the Olympus LS-100 which has nice quiet pre-amps (for the XLRs) but I was advised by a friend that the 16bit recording may be too limiting if I need to compensate for either noise or for mixing. Any opinions on that?

Sadly enough no shop in London has all of these so I can test them all in one place and see what may fit best.

Also, my doc stuff is multi-field (indoor, outdoor) fly on the wall style 95% of the time so I really like the idea of having mixing options between the lavs, stereo and shotgun.

What do we think??

• Records directly to SD, SDHC, and SDXC cards, up to 128GB
• High-quality 160° wide angle lens with selectable viewing angles (F 2.0/16.6mm)
• Uses a system of interchangeable audio input capsules that can be swapped out as easily as the lens of a camera
• Supplied detachable stereo X/Y microphone (XYQ-8)
• Compatible with all Zoom microphone capsules (sold separately)
• Full-color rotating LCD touchscreen
• Support for five HD video modes, up to 2304 x 1296 pixels (3M HD), as well as two WVGA modes
• Frame rates of up to 60 fps for capturing fast action video and slow motion playback
• $399
• http://www.bhphotovideo.com/c/product/1116341-REG/zoom_zq8_q8_handy_video_recorder.html

SIGMA wins TIPA Awards 2015 Global Vision Lenses, for Zoom and Prime

(Mark Roeder, April 2015) top technology combined with the highest image quality, unique art manufacturing and stringent quality control - this is the high-quality high-performance lenses Sigma's Global Vision. With two products from our range convinced the experts from Japan this year again, the jury recognized the TIPA Awards and won two awards were equal. The SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM Contemporary been named the winner in the category "Best Entry Level DSLR Lens", SIGMA 24mm F1.4 the new DG HSM kind brought in the category "Best Expert DSLR Prime Lens" the victory.

(in German) http://www.artikel-presse.de/gleich-doppelt-ausgezeichnet-sigma-gewinnt-tipa-awards-2015-fuer-global-vision-objektive.html

Nikkor 28mm f2.8 AI-S - $150 (Exc condition, fung that has been UV treated on front element, outside of the image circle, does NOT affect IQ) Nikkor 35mm f2.0 AI - $170 (Exc condition, no dust/haze. Comes with helicoptersean seamless followfocus ring) Nikkor 50mm F1.8 AI - $100 (Exc condition, no dust/haze. Comes with helicoptersean seamless follow focus ring) Nikkor Micro (Macro) 55mm f2.8 AI-S - $125 (Exc condition, no dust/haze) Nikkor 85mm f2.0 AI - $250 (Exc condition, small dust specs, doesn't affect IQ. My favorite of the bunch) Nikkor 80-200mm F4 AI-S $125 (Exc condition, small dust, doesn't affect IQ. Sharp, sharp, sharp)

Or $850 for all of them plus shipping. Thanks guys! PM me or e-mail me at innersparkfilms@gmail.com if you have any questions!

Took me forever to edit wading through hundreds of clips! Second time I have used Magic Bullet Looks and first time using Warp Stabilizer in Premiere Pro CS6, lots of the footage was shaky because it was mostly filmed on a moving train (and my camera movement was pretty terrible at times but this was definitely a run/sprint and gun scenario).

Pretty happy with the outcome altho the laptop I coloured the film on is quite yellow it seems. Still not using a hack...

Price: $15

http://www.ebay.com/itm/LENS-ZOOM-LEVER-for-Panasonic-DMW-ZL1-DMW-ZL1PP-DMW-ZL1E-/180885591062

Price: $10 + shipping

http://www.ebay.com/itm/VIDEO-DSLR-ADJUSTABLE-LENS-ZOOM-FOCUS-RING-WITH-LEVER-CONTROLL-CANON-NIKON-SONY-/200758926265

Price: $11.15 + shipping

http://www.ebay.com/itm/Zoom-Follow-Focus-Lever-gear-ring-Filter-Handle-Lever-67mm-77mm-82mm-58mm-52-72-/360455817514

I hope to avoid still lenses for mechanical reasons and also to get that "warmth" and organic nature one might get from older cine lenses. I might consider older still lenses that are all manual and have good mechanics.

Versatility, size and weight are my major concerns. I'm not trying to find optical perfection here. In fact imperfections (low corner sharpness, flaring, etc.) are welcomed as I prefer older glass with digital capture anyways if it gives me good center sharpness.

Modern cine zooms are huge and bulky and expensive and I'm not looking to rent. That's why I've been thinking about older lenses mostly. Ideally something that could be converted to EF mount. Flexible budget depending on the lens.

I've been digging the net for some days now and I've come mostly empty handed. Only option I found was this small 1kg Optar 25-80 T3.4 but I was hoping to widen my options. (http://www.reduser.net/forum/showthread.php?31664-Optar-25-80mm-PL-mt-Lens-for-sale)

Any suggestions?

I'm looking for some parafocal zooms. Here's some criteria:

• native or adaptable to m4/3rds
• manual iris or adapter that includes iris control
• hard stop focusing preferred
• breathing I don't mind but nothing outrageous
• no too-slow apertures like f8 or f16
• need a few choices for cinema-purpose films
• also some choices for live event/lecture shooting
• zoom controls huge plus! (I plan on using my rigs FF)
• under $5k
• broader focal length range preferred

I've had my eye on the Nikor 50-300 f4.5 for example.

Thanks for the input!

• treetah

All in excellent condition and fully functional focus and aperture rings. I have all the front lens caps but do not have all the back caps, I have two but i would fit an MFT adaptor and cap to the last one sold. Blades operate smoothly and IQ on the primes is excellent. The Hoya is not a sharp lens but has an unusual look to it.

Can be sold with FD to MFT mounts (2 x)

Canon FD 50mm f/1.4 = £40 Canon FD 135mm f/2.8 = £50 Hoya FD 35-105mm f/3.5 = £25

All three for £105 with free P&P

PM for more details

The lens is actually at a repair shop, which is how I know the flex is the problem.

But the repair person stumbled upon the problem that there is no orderable part number, and it is not showing on ebay.

So he basically told me that if I couldn´t find the part, he could not do the repair.

Panny already replied this lame answer:

npcparts@us.panasonic.com 3:37 PM (17 hours ago)

Dear Pedro, I am sorry the Flex Cable is not supplied as a service part.

Mike D11 Parts Data Coordinator Panasonic Consumer Electronics Company

Am I to assume that for an $20 buck part I will loose a $500 lens ? Remember I am in Costa Rica, son not many local or even regional options... please guys a little help!!!

Thanks!

This is a Nikon B4-mount ENG lens.

While this may be an "SD" lens, I put it head to head against my Micro-4/3 (M43) still photography glass and this lens more than holds it's own.

This is because the M43 lenses are corrected in camera.

This Nikon is just purely great.

You can shoot HD with this lens.

I'm already shooting 4K with this lens on my Panasonic GH4 in full Digital Cinema mode and there's no vignetting.

If you use the full M43 sensor (for HD) then you see a little vignetting in the corners. But the 4K modes use a slightly smaller crop area and this removes any vignetting. The same can be said for the Blackmagic Design Pocket Cinema Camera's Super 16mm sized sensor area. You would have no vignetting there either.

This lens is PARFOCAL- which means that, once you set the backfocus to your camera/sensor, you can zoom in, get your focus, and zoom out. It's always in focus.

This lens is VERY WIDE. Most B4 lenses start around 8mm. This starts at 5.5mm. In M43 terms, it's like using a 7mm lens to shoot DCI 4K video.

It goes down to an f1.7. And it's a flat 1.7 across the entire zoom range. Like any very low aperature lens, the image qualty steps up once you get to f2.8 or so, but when you need those extra stops, this lens has them.

It has an internal "DOUBLER." But this one is not a full 2x, it's a 1.7x which means there's more light hitting the active image area of your sensor because the "doubler" doesn't spread it out as far as a full 2x doubler.

It has a MOTORIZED SERVO ZOOM. This means you can provide the lens 12v power (adapters are readily available on e-bay) gently push the zoom rocker, and the lens will gently creep through the zoom range- without the lens adjusting the iris in the middle of your shot like it does with still lenses. The motor can be disengaged and the lens used completely manually too.

This lens focuses down to 1-FOOT. You read that right. 1-foot. The other B4 lenses I see all have a minimum distance of several feet. But this lens you can zoom in to a very small item just 1 foot from the front of the lens and you can focus on it without even using the lens' macro.

It has a MACRO. Which means you can pull the focus even closer. And unlike other B4 lenses I've used that lock the Macro out, the Macro on this Nikon lens can be used even with the doubler engaged.

OMG! There has got to be SOMETHING wrong with it.

Well, yes, there is. When it got shipped to me from Europe, the manual/servo rocker arm got banged. It's a bit more wobbly than it should be. It still engages and disengages the motor, but you may have to wiggle it a bit. The servo motor still works, but sometimes, if it's not engaged fully, the connection between the motor and the teeth on the lens can be intermittent. If you want to open up the lens and see if you can adjust this to make it better, it's just four screws away. You could also remove the servo grip entirely and the lens would work perfectly as a fully manual zoom with teeth ready for any follow focus system you'd like to add. Personally, I like the grip because it's in the middle of the lens and it balances very nicely in my hand, even with the big Panasonic GH4 on the back of it.

I see there's actually another Nikon B4 lens for sale on e-bay right now and the grip surface around the lens is peeling away. That lens is banged up. That lens has clearly seen many years of service.

THIS lens, on the other hand, looks and feels new (except for the manual/servo switch).

It's VERY clean.

The grip is in GREAT shape, though the leather part of the hand strap does show some wear, it's perfectly functional.

The focus, zoom and iris are SMOOTH.

The doubler pops in and out beautifully.

The optics are CLEAN. Surprisingly clean.

It has a rear lens cap.

It has a front lens hood with protector glass integrated into it.

There is no front cap.

Look at the pictures.

Watch the video.

This thing is amazing and whomever wins this auction will be capturing stunning images with this lens for a long time to come.