Articles tagged #ZOOM
Articles tagged
#ZOOM
Elevate your Video Web Meetings - produce remote workspace online content like a Pro!
Here is Videocraft’s take on how to elevate your video web meetings, when working remotely whether you are using Zoom, Google Meet, Microsoft Teams or Adobe Connect, read through the ways you can elevate your online presentations and meetings.
First, let’s tackle the visuals.For most people who now find themselves having to communicate with their colleagues remotely, they rely on the built-in webcam on their device (if it has one). However, depending on the device, the angle you can be left with can often end up being the most unflattering perspective possible.Perhaps the simplest way to avoid visuals of extra chins and nostril shots is to get an external webcam that you can position independently of the screen you might be using. A suggested solution would be coupling a webcam like theLogitech Brio webcam or using a DSLR style of camera with a HDMI output like the Sony ZV1 and pair it up with an adjustable desk stand like theJoby Telepod.
Moving to a more traditional camera or camcorder can certainly elevate the visuals further and well, webcams can only get you so far. They generally have tiny sensors which certainly limit how pretty an image they can produce. 
For an idea about what we would recommend for a complete next step up, see here:Home Streaming Budget Kit which includes the Sony ZV1 to give you really great quality online visuals. How about lighting?
Depending on your workspace, some additional lighting equipment may get you further than a camera upgrade. If your workspace isn’t blessed with consistent, pleasant or generally flattering lighting, try adding something like theNanlite Pavotube 6C; It’s got an in-built battery and can be USB powered, so you’ve got a heap of flexibility with where you can place it. Add aJoby Telepod to mount it on your desk and you’ll go a long way to being able to light yourself in a way that will make you look better than the rest of your ‘whatever lights the room has’ colleagues. As a cool bonus, it’s a full RGBWW light which is perfect for a splash of colour or some creative mood lighting for your home/workspace when it’s not on duty to light a face.Now, what about audio?Sound is usually more important than the pictures, so it’s definitely worth putting some extra effort into showing some love to your audience’s ears. With the explosion of audio content like Podcasts, there is now a heap of great and affordable audio gear that would really elevate the work-from-home experience.
Built-in webcams tend to have built-in microphones that perform okay when you are in the sweet spot for where they pick up audio. However, with an external USB microphone like theRode NT-USB Mini, to use on your desktop, it's worth considering a Rode PSA1 boom arm for when you're at your desk and want full control over your microphone placement. 'Treat audio the way a radio station would, and your audience will thank you for it.' Maybe a more mobile option is more suitable, we would suggest you try the Rode WIGO Wireless Mic which you can plug into your camera or camcorder for real high-quality audio capture. This way you can move it to suit you the mic to suit your preferred position, rather than the other way around. Keep the mic close to your mouth, and your voice will always be heard. Once you divorce your microphone from your camera, you grant yourself a heap more creative freedom to be able to frame your visuals how you wish, without compromising on how you sound. Give it a try! Check out this short video tip on how this style of setup works. New small and lightweight 4K Zoom lens from Fujifilm - UA24x7.8"
FUJIFILM announced the release of the new “FUJINON UA24x7.8BERD,” (“UA24x7.8”) achieving the world's smallest and lightest broadcast lens supporting 4K. The lens is scheduled for release in January 2018. Despite having a compact body, the “UA24x7.8” features a 24x high magnification zoom, covering a focal length from the wide angle of 7.8mm to 187mm. This portable zoom lens allows you to shoot high-definition, realistic videos for situations such as live sport broadcasting and press coverage. 4K video is spreading rapidly in countries such as Japan, Europe, and North America, with the introduction of the compact and lightweight “4K camcorder” camera, the need for compact and lightweight lenses continues to increase.
Videocraft Review: Zoom F8 Field Recorder
Zoom have come to the party with a fully-fledged field recorder and mixer they have named the F8. I’m not entirely sure of the origin of the name but I am going to take a wild stab in the dark and remember it as F for field, and 8 for the number of microphone pre-amps. I expect a field recorder to be built to take a bit of punishment, and from the looks of it Zoom have approached the design of this unit with that in mind. It isn't quite as much of a tank as the Sound Devices equivalents, but given the price that can be excused. It is also lighter and more compact than the Sound Devices offerings. Let’s take a wander around the F8 and discuss the ins and outs, so to speak.
LEFT SIDE
The unit has eight mic/line combo inputs, that are distributed four at a time on either side. XLR is for mic level signals, and 1/4" TRS for line level signals. Joining inputs 1-4 on the left side are 2 x SD/SDHC/SDXC slots, a Mini USB connection (to use the F8 as a card reader or audio interface) and a HIROSE 4-pin DC input for providing external power. This is a nice touch as it allows you to put a garden variety Anton Bauer V-Lock in the bottom of your bag and run the unit all day long. RIGHT SIDE
All audio outputs are located on the right side of the box along with Inputs 5-8, and we get two main TA-3 outputs (Mini XLR connectors), one 1/4" headphone jack and a SUB OUT 1/2, combined on a 3.5m TRS connector. Don't worry about the Main Outs being on TA-3 connectors, the unit comes with a couple of TA-3 to full sized XLR breakout cables to cover you, should you need to go to a camera or other device that requires run of the mill XLR flavour. 
BACK
Before I get to the front, I'll quickly touch on the back. There is a 12V DC-IN barrel connector to connect the supplied AC adaptor, a Kensington lock if you need to tie it down (a little counterintuitive for a field recorder), a battery slot which holds 8 x AA batteries, a block style MIC-IN connector for connecting any of Zoom’s microphone capsules, and normal video BNC connectors for Timecode IN and OUT. The timecode connectors are independent of one another, and the output allows you to use the F8 as the timecode master on set, provided your cameras have BNC type TC inputs. FRONT
The front panel provides just enough knobs and buttons to get the job done, and is very well thought out. The display has a high enough resolution for everything to be nice and legible (even to my computer damaged eyes), provides a nice big recording time readout, timecode counter (including TC source and frame rate) and battery status which includes a live voltage readout. These elements remain at the top of the screen until you dive into the menu. The large encoder next to the display allows you to navigate the menu, and when you are not in the menu it will allow you to scroll through various metering windows. Each input channel has a REC Arm button with their respective number on it, a post fader for managing input level, LED's for level metering and input state (red for record, orange for solo), and last but not least, a PFL button. The PFL button is by far my favourite feature. As soon as you press it, the display jumps into a sub menu dedicated to the channel settings of the specific channel you have just soloed. This is a massive time saver as far as setup goes, as you don't have to go digging around in menus to do simple everyday tasks such as engaging phantom power, high pass filters, limiters and setting pan. With one touch of a button, you can hear the relevant input front and centre, a couple of quick clicks and a twist of the input fader and you are ready to go. Press PFL again to clear the solo, and the display reverts back to your main metering. Excellent design and a big thumbs up! The front panel also provides a slate mic and slate switch, allowing you to verbalise a slate onto all tracks using the built in mic, or to stripe a reference tone. Slate tone can be momentary, or you can lock it on. The level and frequency are adjustable, however the unit defaults to -20dBFS and 1khz. ROUTING and MID-SIDE
The unit gives you a large range of routing options, and any of the inputs can be routed to any of the outputs, either pre or post fader. You also have the option to send the left and right mix output to the main or sub outs. The headphones have the same routing options with the addition of Mid-Side and Mono monitoring. The Main and Sub outs also feature frame delay and limiters. It is worth noting that Zoom have abbreviated Main and Sub as M and S in the routing menus, not to be confused with MS for mid-side. On the subject of mid-side, it provides the ability to decode MS inputs into stereo for recording purposes or allows you to monitor aforementioned MS sources as stereo if you want to keep them separate during record. You can also individually adjust the side level when the MS inputs are linked, giving you that extra level of control.RECORDING
The F8 has two SD/SDHC/SDXC card slots and you have a number of options when it comes to defining what each card will record. There is no option for overflow recording but given the price of SD cards these days, it is unlikely that feature will be required. If you want redundancy simply pop in two matching cards, set them both to the same recording setup, and the unit will name them in the same way so that they become duplicate copies. They have included Poly WAV recording which means you get one multichannel file with all ISO's, as opposed to individual mono or stereo files. This is handy to minimise the number of files created keep related tracks locked together. File protection is provided in the form of periodic file saving during record, just in case you lose power or accidentally remove the card. A 6 second pre-record buffer can be activated in case you are in an unpredictable environment, and you also have the option of using the dual channel REC feature to record two copies of the same input at different levels. This feature is only available for inputs 1-4 as it requires REC channels 5-8 to store the parallel recordings. As you would expect Broadcast Wave Form at 48khz and 24 bit is the default REC format. Sample rates go all they way up to 192khz without sacrificing any recording channels, and if you need long record times you can switch to MP3 format and record at bit rates of 128, 192 or 320kbps.METADATA and APP CONTROL
Metadata management is included and will allow you to predefine scene name, the mode of scene increments, track names, notes, and the take naming format. This is a must have if your recordings are going into a commercial post-production workflow. Metadata can be setup using the jog wheel on the front of the unit but as with any text entry of this type, it can be tedious. A nice touch is that the entry menus do have history, allowing you to recall a previously used scene name or note. The unit has been built with Bluetooth connectivity so that you can connect an iOS device, and they have put together a tidy little app to give you a range of control. Once I had set it up, I was hopping that I would be able to use it to predefine the metadata, however it wouldn't let me do it prior to recording. Once I had done some recording it allowed me to edit the metadata after the fact, however personally this is slightly less than preferable. This isn't a deal breaker, it just means that you need to be wary of the workflow. The app gives you similar control to what you have on the front panel of the unit, and some (but not all) of the menu controls. I have to give Zoom a tick of approval for the mixer window inside the app, if you are wanting to perform a stereo mix on the fly this is a much easier way to control it compared with using the menu data wheel on the front of the recorder.FINAL THOUGHTS
All in all this is a fantastic little field recorder at an exceptionally reasonable price (AUS RRP $2,149.00). It does everything an amateur or intermediate level sound recordist requires, and could also be used to record immersive audio for the up and coming VR content boom. Paired with a custom made Portabrace bag, it is comfortable and easy to operate. If you have been battling along with a handy recorder and want to step up the quality of your production audio but have been struggling to justify the cost of some of the professional options on the market, then you should take a good hard look at this unit, as it is the one for you. You can order the Zoom F8 from Videocraft: Product Code: FXR108 or click here to be redirected to the product in our online shop.Canon launches compact cine-servo lens
Canon has unveiled a new Cinema EOS lens with cine-servo style functionality - the CN-E18-80mm T4.4 L IS KASS. Designed for professional and advanced amateur videographers using large-format, single-sensor cameras, the lens strengthens Canon’s line of cine-servo lenses, following in the footsteps of the CN7x17 and CN20x50. The latest addition offers the perfect balance of operability with outstanding precision and quality, giving videographers the power to capture exceptional footage.Available out-of-the-box, the lens includes a servo engine which is powered via EF mount connectors, supporting hand-held shooting. For increased versatility, Canon is launching the ZSG-C10, an optional dedicated zoom grip, ideal for use with hand-held rigs. Free of charge, Canon is also announcing today a firmware upgrade to the CN7x17 cine-servo lens, adding Dual Pixel CMOS AF, Push Auto Iris and one shot or continuous AF when used with Canon Cinema EOS C100 and C300 cameras[ii].Outstanding 4K optical performanceBased on Canon’s heritage in optical design and performance, the CN-E18-80mm T4.4 L IS KAS S is equipped with a resolving power that matches 4K, producing exceptionally high quality images. The 18-80 mm focal length equates to 4.4x zoom ratio with stable T4.4 number maintained across the entire zoom range from the center to the edges. Thanks to three Canon Image Stabilization modes, the lens ensures complete stability even during hand-held shooting, perfect for wedding videographers. The CN-E18-80mm T4.4 L IS KAS S also features a nine blade diaphragm, to give the much loved ‘bokeh’ look and is colour balanced, matching other Cinema EOS lenses.The perfect companion for single-shootersWeighing in at just 1.2kg, the CN-E18-80mm T4.4 L IS KAS S is Canon’s smallest and lightest cine-servo lens to date, providing instant benefits for mobile videographers, such as those shooting news and interviews. Its compact size and weight also means it can be used for drone-style shooting or in discreet or restricted positions. It’s also incredibly easy to function, negating the need to switch between lenses, opening up a variety of shooting opportunities for single users.Undeniable performanceThe CN-E18-80mm T4.4 L IS KAS S has an incredible servo performance as the servo unit is incorporated on the body, enabling precise digital zoom operations. Users such as documentary and filmmakers are able to achieve maximum speed and responsiveness with seamless switching between auto and manual focusing and zoom. For those using a shoulder-style rig or shooting hand-held in challenging positions, the ZSG-C10 is a perfect accessory – the grip simply attaches to the side of the lens, offering simple integration and zoom management. The lens features minimal focus breathing, thanks to the 3-group inner focus system. Users are able to quickly change focus without losing viewing angles, perfect for those capturing fast moving activity such as in adverts or corporate film.AvailabilityThe CN-E18-80mm T4.4 L IS KAS S will be available November 2016.
Fujifilm Announces Fujinon Cabrio XK6X20 Zoom Lens
FUJIFILM has announced that it will release the FUJINON XK6x20 as a new addition to its lineup of 4K-compatible digital cinema camera Cabrio zoom lenses in late June. Equipped with a PL mount*2, the most common format for cinema cameras, the XK6x20 is a standard zoom lens that delivers T3.5*1 brightness for the entire zoom range from 20mm to 120mm. The XK6x20 will be showcased for the first time at NAB 2016 to be held in Las Vegas at the LVCC from April 18 to 21, 2016. Designed for the video production and PL cine markets, this 20-120mm Cabrio features industry-proven Cabrio flexibility - at an affordable price. It is also equipped with a unique detachable servo drive unit, making it suitable for use as an ENG-style or standard PL lens. The 20-120mm Cabrio is also fitted with a nine-blade iris, to capture the most natural looking imagery possible. It comes equipped with all the lens data outputs that are required by today’s cine-style shooters. LDS and /i Tech metadata compatibility are very useful when users need to record the position information of zoom, iris, and focus for computer animation and similar postproduction operations. The digital servo on this new lens has 16-bit encoding, so operators can be assured that the lens data outputs are extremely accurate. The 20-120mm Cabrio XK can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired units. Meanwhile, the zoom’s barrel markings are luminous for visibility in dark shooting situations - a nice-to-have touch that reflects the company’s deep understanding of real-life cinema shooting conditions. In recent years, the need for employing visual content that utilise mild bokeh created with high image quality and shallow depth-of-field lenses that are unique to cinema cameras has increased for shooting various scenes for commercials, concerts, documentaries and dramas. Fujifilm released FUJINON Cine Lenses compatible with digital cinema cameras in 2002. Since then, it has provided high-resolution, high-quality lenses for digital cinema camera customers in various production sites in the cinema and broadcasting industries. The XK6x20 digital cinema camera zoom lens offers high optical performance compatible with 4K cameras and covers a wide focal length range from 20mm to 120mm. It also realises T3.5 brightness throughout the entire zoom range. There is no T drop*3 and it offers comfortable operation enabling various scenes to be shot with this single lens. It also features 0.8mm gear pitch*4 for compatibility with standard cine accessories.
#NAB2014 Products To Watch - Lenses
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AJA Releases TruZoom™ for Realtime 4K to HD Region-of-Interest Workflows
AJA Video Systems today announced TruZoom™ delivering high-quality region-of-interest (ROI) workflows from 4K and UltraHD video. The TruZoom software and external joystick controller drives AJA’s Corvid Ultra professional video I/O platfrom. TruZoom allows customers to scale any 16:9 region within 4K frames to HD in realtime, making it ideal for sports broadcast, live event production, professional AV, and digital film. “Corvid Ultra is a powerful solution for high frame rate workflows across a range of resolutions, from SD all the way up to 4K. With the release of TruZoom, we’re offering a simple front end interface for very high-quality HD region-of-interest scaling and extraction from 4K sources,” said Nick Rashby, President, AJA Video Systems. “TruZoom has already been proven in critical on-air broadcast environments, including the MLB Network, who was very pleased with its performance during the baseball Division Series playoff games.” TruZoom Features- Region of Interest scaling for HD extraction from 4K and UltraHD sources
- High-quality scaling utilizing the AJA Corvid Ultra with TruScale™
- Support for High Frame Rate (HFR) and 4:4:4 workflows
- Work with realtime signals, or recorded uncompressed files
- Instant realtime playback and interaction at the highest quality
- All parameters are key-frameable
- Intuitive interface with on-screen indicators
- Includes external joystick and keypad controller
- Optional realtime RAW Debayer firmware for Canon C500
- Compatible with the latest HP workstations running Windows