Canon: new 4K projector exceeds DCI standard

Canon: new 4K projector exceeds DCI standard

The new projector from Canon offers compact size associated with high resolution, the ideal combination for those who require image quality but may have limited space. The price, though, is high: $58,990.

The Canon REALiS 4K501ST Pro AV LCOS projector incorporates all the features of the REALiS 4K500ST, as well as an enhanced video interface that offers two HDMI version 2.0 inputs with HDCP 2.2 support. One of the aspects that is capital on the projector is the resolution. At 4096 x 2400, the REALiS 4K501ST projector’s native 4K resolution is made up of more than 9.8 million pixels – higher than the Digital Cinema Initiative (DCI) standard for 4K cinema (4096 x 2160) and more than QFHD (3840 x 2160), the resolution standard for 4K TV. This higher resolution can be a critical factor for those applications like simulation and training and design and engineering, which may require larger vertical display areas.

“4K projection display is becoming ever more popular and by offering enhanced connectivity, Canon will be able to reach new markets interested in 4K projection technology,” said Yuichi Ishizuka, president and chief operating officer, Canon U.S.A., Inc. “This projector’s highly detailed 4K resolution, LCOS Technology, advanced Canon optical and image processing technologies, and versatile performance help empower users to bring content to life.”

Canon: new 4K projector exceeds DCI standard

The 4K501ST projector comes equipped with a specially designed Genuine Canon 4K short focus wide zoom lens and throw ratio of 1.0 – 1.3:1, allowing it to project a 10-foot wide image from an approximate distance of only 10 feet. This projection lens possesses advanced spherical focus capabilities derived from Canon’s L-Series EF camera lenses which is distinguished by a bold red ring around the outer barrel. The lens delivers superb performance due to such sophisticated Canon optical technologies as ultra-low dispersion (UD) glass, aspherical lens elements and super spectra multi lens coatings. The brilliance of this lens is what also drives the Marginal Focus feature and its capability to help ensure content projected on the peripheral portions of domed surfaces remains in focus.

The projector is the newest member of the REALiS Projector series which all feature Canon’s LCOS (Liquid Crystal on Silicon) Technology with AISYS-enhancement. This advanced technology, which is achieved by Canon’s proprietary AISYS (Aspectual Illumination System) Optical Engine maximizing the performance of three LCOS panels, is renowned for delivering virtually seamless images with outstanding color reproduction, and low-latency playback for improved display of video content. This unique engine is critical in helping to ensure the 4K501ST projector delivers an ideal combination of both brightness (up to 5000 lumens) and contrast ratio (up to 3000:1), while also helping the projector maintain a small form factor – a very important issue for applications with limited spacing, and those that may require an upgrade of an existing lower resolution unit of similar size.

The 4K501ST projector is also able to deliver a virtually consistent level of brightness throughout its zoom range thanks to the combination of the AISYS Optical Engine and the advanced optical technologies found within the projector’s Genuine Canon 4K lens.

Canon: new 4K projector exceeds DCI standard

The REALiS 4K501ST projector also integrates powerful dual image processing engines that execute such complex tasks as smooth reproduction of uncompressed 4K video at up to 60 fps, and two upscaling technologies, BiCubic and Canon’s proprietary Sharp Trace which detects contours of an image in a diagonal direction and performs interpolation, to help optimize 2K video and other non-native 4K resolution content.

In terms of conectivity, the Canon REALiS 4K501ST projector includes two HDMI (version 2.0) and four DVI inputs supporting single, stripe and cross configurations for 4K, 2K or HD video playback. This model also supports PJLink which makes it possible to control and monitor the projector over a network, making it easier than ever to observe lamp hours, usage and more. For even more control, the REALiS 4K501ST projector is a Crestron Connected device and support AMX Device Discovery.

Advanced image adjustments and system settings on the REALiS 4K501ST also include the following optional features:

  • Dynamic Gamma: analyzes individual areas of an image for specific, independent contrast adjustment so light and dark areas do not appear over- or underexposed.
  • Memory Color Correction: enhances skin tones and other color features for rich, vivid results that look striking to the human eye.
  • Motion Blur Reduction: offers three different modes (Strong, Low and Off) for improved visibility when video content movement is fast.
  • Ease of Installation and Maintenance: the small form factor and weight (39.6 pounds) of the Canon REALiS 4K501ST projector allows this model to be installed in a wide range of applications and environments. Motorized Lens Shift, Zoom and Focus, 360-degree Vertical Installation, 4-Point Keystone Correction and a variety of other advanced professional calibration settings provide further installation versatility, including:
    Built-in Edge Blending: enables the projection of one seamless, large image from multiple projectors without the need of special software.
    Advanced Registration: allows independent position adjustment of the three primary colors (RGB) with high accuracy (0.1 Pixel) ultimately helping to reduce blurred colors or lines often projected at the edge of an image.

The Canon REALiS 4K501ST projector also offers six different pre-set image modes, as well as three customizable image modes, to help optimize quality based on content type and projection environment. The Canon REALiS 4K501ST Pro AV LCOS Projector is scheduled to be available through authorized Canon dealers by October.

Wooden Camera’s URSA Mini Side Plate and Wireless Adapter

There are times when a company releases the one product which will make your life a little easier as a shooter. For me, it is the Wooden Camera Wireless Side Plate Adapter for the URSA Mini. See, I come from the world where we have no separate audio recorder or mixer. I tend to shoot and record audio in the camera like, I assume, many of you do too. Wooden Camera, I believe, makes one of the better and smarter built wireless plates.

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Wooden Camera’s Wireless Side Plate Adapter

Wooden CameraChaulk this down to “it just works.” I already have Wooden Camera’s full-sized URSA’s Wireless Side Plate Adapter and their Universal Wireless Side Plate attached to my URSA and I love how it places my wireless audio receivers out of the way and behind the camera. The set up is very much like how a news shooter may have a camera/audio solution set up. Having audio paced in the back and near the battery allows a shooter to focus on shooting while not having wireless audio receivers banging around or mounted to the camera handle. No, as a shooter you want everything to work smartly so you do not waste time or miss a moment.

Wooden Camera

Rosette Side Plate

The rosette side plate for the URSA Mini is another smart piece of kit. The right side, or the dumb side, of the camera, in my opinion, is really the only place to mount additional accessories. If you already have the URSA EVF and Top Handle, which work really well together, then you may not have a ton of space on the top of the camera to mount much of anything. By adding 1/4-20 and 3/8-16 mounting points to the side plate Wooden camera opens up the one side left to mount more accessories to the URSA Mini. This could be a great place to mount accessory arms for a wireless video transmitter for example.

Wooden Camera

In the end, a simple and small accessory can be the one piece of gear helping you focus on capturing great shots. For me, it is Wooden Camera’s wireless side plate adapter and the actual plate holding the wireless audio receivers. The placement is spot on and close to the XLR inputs so your audio will all be in the back of your camera. Now, I am not beholden to Wooden Camera. They do not give me gear nor do I find all of their accessory kits necessary items for shooters. I tend to prefer fewer 1/4-20 and 3/8-16 plates attached to my camera because I like to keep my kit light-weight. If you catch yourself needing to capture wireless audio and shooting video simultaneously then above all else this small piece can impact your shooting experience in a big way.

Better Wireless adapter on ursa mini

Wooden Camera

Affinity Photo: HDR, focus stacking, macros, tone mapping and more

Affinity Photo: HDR, focus stacking and much more

Affinity Photo v 1.5 will arrive to the Mac App Store somewhere in September, October the latest. The actual version is available at a 20% discount price of GBP29.99 / $39.99 / EUR39.99 until Thursday, July 21, as part of a promotion to mark Affinity’s Photo first anniversary.

Affinity Photo, the award-winning professional image editing app, is to get a host of powerful new features in its next update, and developer Serif has published a ‘sneak peek’ video detailing what’s new in Affinity Photo v1.5. The new features will also be included in the hotly-anticipated Windows version of the software, tipped to be in free public beta around the same time.

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Those added features announced today include:

  • Advanced HDR merge producing full 32-bit linear colour space images
  • An entirely new workspace for tone mapping
  • Focus stacking to bring depth to multiple combined images
  • Batch processing for smoother, faster workflow
  • Macros to record and replay a set of commands
  • An all-new way to edit 360 degree images

Revealing the added functions, Serif Managing Director Ashley Hewson notes: “This will be the fifth major update we’ve pushed out since the launch of Affinity Photo – all free of charge to people who’ve bought the app. We’re committed to continuing to develop features that cement the position of Affinity Photo as the most indispensable image editing tool for pros, whether they’re using Mac or PC.”

Chosen as Apple’s ‘App of the Year’ 2015, and ‘Best Imaging Software’ 2016 by the Technical Image Press Association, Affinity Photo’s live retouch tools work in real time and its speed means there’s no waiting to see your results. Non-destructive editing, raw processing and end-to-end colour management are standard, so Affinity Photo has all the accuracy and quality necessary to make beautiful images spring to life.

Affinity Photo: HDR, focus stacking and much more

Hewson adds: “The success of Affinity Photo and the outstanding reviews we’ve had are proof that it delivers what creative professionals need – thrilling speed, sophisticated tools, pinpoint accuracy and painless compatibility, coupled with an attractive, modern look.”

Affinity Photo is available, as mentioned above, at a 20% discount price of GBP29.99 / $39.99 / EUR39.99 until Thursday, July 21, as part of a promotion to mark its first anniversary, before reverting to GBP39.99 / $49.99 / EUR49.99.

Serif continues to say that’s the only price customers pay – there’s no subscription – and the v1.5 update will be free to existing customers. Windows users eager to try the program – I know I am, I almost wish I had a Mac just to be able to use the available version of the program – can register now to take part in the free public beta at

Blackmagic 3G-SDI Arduino Shield Shipping

Get your DIY on with Blackmagic’s 3G-SDI Arduino Shield. The Arduino is built to help creatives and engineers build their own custom controllers for cameras and other SDI devices. In the past, if broadcast engineers wanted to integrate Blackmagic’s cameras into their already built systems they would need to build SDI hardware to do remote control of those Blackmagic cameras using Blackmagic’s SDI Control Protocol. To solve this problem Blackmagic has created a new SDI expansion board for Arduino micro controllers to make it easier for engineers to create custom solutions to controllers for Blackmagic Cameras.

ArduinoThink of controlling a cache of Blackmagic cameras like the 4K Micro Studio Camera, 4K Studio Camera, and the 4.6K URSA Mini within an already built system utilizing different cameras and camera systems. Or, you could build a system from the ground up only using Blackmagic cameras. What this means to me is Blackmagic wants some of its cameras to be used in broadcast environments instead of the smaller market of single-shooter situations. By making life easier for engineers and technicians to integrate Blackmagic cameras, Blackmagic opens up a large market where they can sell more of their cameras.

In order for Blackmagic to sell us less expensive cameras, they have to deal in volume. Broadcasting and live video to the web, or over the air, are huge markets. Plus, it is a market where budgets are dropping and engineers are expected to do more with less. Below, let’s read more about the Blackmagic 3G-SDI Arduino Shield from Blackmagic.

arduino-shield-2Arduino is a popular open-source electronics prototyping platform based on easy to use hardware and software. Similar to Raspberry Pi, which is more targeted at software engineers, Arduino is often the choice for hardware developers and is designed as a simpler, more flexible and a lower cost way build all kinds of custom projects.”

“The Blackmagic 3G-SDI Arduino Shield is a simple expansion board or “shield” that includes 1 SDI input and 1 SDI output. The SDI input allows any video source to be connected, and the SDI output is connected to the camera and has camera control protocol commands embedded into it. The Blackmagic 3G-SDI Arduino Shield is very easy to use by a software developer as they just look up the camera control commands they want to use in the instruction manual and then add them to Arduino software code that sends them to the Blackmagic 3G-SDI Arduino Shield to be inserted into the SDI link.”

“The Blackmagic SDI Control Protocol uses the blanking space in an SDI data stream to send commands for things such as camera and lens control, color correction, program return, tally, talkback and more over SDI cables so customers don’t have to deploy additional, expensive equipment and run extra cables. The protocol is well documented by Blackmagic Design in product manuals and is now also being supported by third party manufacturers. The Blackmagic SDI Control Protocol is built into Blackmagic cameras, ATEM switchers, DeckLink cards, Video Assist, and viewfinder products.”


Xeen 135mm T2.2, Samyang’s Blockbuster

Xeen 135mm T2.2, Samyang's Blockbuster

Globally available in August, with a recommended retail price of EUR 2,200, the Xeen 135mm T2.2 offers, says Samyang, outstanding image quality from resolving power for 4K+ production for filming video and cinema.

The new lens joins the existing five lenses of 14mm T3.1, 24mm T1.5, 35mm T1.5, 50mm T1.5 and 85mm T1.5 in the Xeen family, a specialized brand in professional video-cine lens launched by Samyang Optics in 2015. The XEEN lenses are designed with Samyang Optics’ know-how and have outstanding optical performance for 4K+ with the X-Coating Technology, ensuring maximum image quality to create a cinematic look.

The full format ( 24mm x 36mm negative size) allows Xeen to not only work with full frame cameras, but also with Super 35, APS-C and APS-H cameras. The lenses are available in five different mounts – PL, EF, F, E, and MFT and two different focus scales – metric and imperial units. Also, adds Samyang, the aluminium metal housing is known for its reliability in various shooting conditions.

Xeen 135mm T2.2, Samyang's Blockbuster

The new Xeen 135mm adds telephoto angle to the existing Xeen set, enabling to extend capture options in films and videos. Also the bright T2.2 offers high quality footage with clear contrast and impressive colors, says Samyang, even under less-than-optimal lighting conditions. The large aperture also creates a pleasing bokeh effect for a cinematic look.

The Xeen 135mm T2.2 is not the only lens Samyang plans to launch. The company announced it will release a total of five lenses throughout five weeks as a 2016 Summer Samyang Blockbuster campaign starting with this lens. The other four lenses will be announced on every Monday from July 25th to August 15th.

Fujifilm X-T2 gets F-Log, Lightroom Mobile gets RAW

Fujifilm X-T2 will get a F-Log, Lightroom Mobile gets RAW

Able to capture 4K video without heating problems, the Fujifilm X-T2 is one of the most popular cameras of the moment in the same week Samyang announces a new series of lenses. These are some of the new published during the week 28 of 2016.

Lightroom Mobile gets RAW

Fujifilm X-T2 will get a F-Log, Lightroom Mobile gets RAW

Lightroom Mobile for iOS finally offers the option to edit RAW files. With Lightroom 2.4, iPad or iPhone users can import RAW files directly, edit them and share them anywhere. It is also possible to perform local adjustments. Android users also got an update, to Lightroom 2.1, which now offers a new Pro mode that lets you control the shutter speed, ISO, white balance, and focus all manually, in a brand new interface. Both updates also offer new features while correcting previous bugs. Get all the info following the link to Adobe blog about Lightroom mobile.

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Fujifilm X-T2: 4K and no heat

Fujifilm’s X-T2 continues to be the camera in the spotlight. The Camera Store TV made a 18 minute video looking at aspects of a mirrorless model they consider offers great “color grading in camera” if you don’t want to be bothered with or do not know about color grading. But there is more about a model that will soon have a F-Log, courtesy of Fujifilm’s habit of expanding functions with firmware. And then there is that comparison with the Sony A6300. The Sony keeps heating and the Fujifilm manages the heat convincingly, we are told. See the video for some more information on this surprising camera.

Samyang Blockbuster for Summer

Fujifilm X-T2 will get a F-Log, Lightroom Mobile gets RAW

Samyang promised to blow our minds away this Summer, with five new amazing lenses released every Monday for the next five weeks. The first information available, a laconic text and the image published here, did not give much information about the new lenses, so when I wrote this, on Sunday, there was still no information about the first lens to be launched. In the mean time, because the marketing department at Samyang had devised a way to make people talk about the new lenses – offering Amazon Coupons – multiple suggestions about which would be the first lens on the Samyang Blockbuster series appeared online. Well, it is known now, and you’ll find the information on the pages of ProVideo Coalition. It is a lens for Cinema. A new Xeen.

Seven reasons to use a SLR

Fujifilm X-T2 will get a F-Log, Lightroom Mobile gets RAW

One of the most commented piece of news last week was an article which, in fact, was published earlier but only started to grab attention recently. The article by Thom Hogan, titled “Seven Reasons Why I’m Still a Nikon DSLR User” was shared online by many websites and social networks. In a world where we are told that DSLRs are dying, Thom Hogan explains why he will “continue to shoot with Nikon DSLRs.”. It’s a long article that may interest all those who look for a reason, or multiple, to buy a DSLR camera.

Why We Need More Women In Film and Television

This past weekend had the potential to be big news for Women in Filmmaking. The latest version of “Ghostbusters” had its opening weekend in the theaters with its all-female lead cast. Many will watch to see if the film does well at the box office, or poorly, as a tell-tale sign of whether or not an all-female lead cast comedy film can be a hit.

Women in Film

Women in Film and Television

I think we should not base a filmmaking gender discussion on a single film. There are too many factors in producing a hit film than the gender of its actors. What we can talk about is how to get more women involved in the world of film production. women in film

In the early years of my career I cannot think of anytime I thought the camera department was reserved only for men. It’s a ridiculous thought. Even in the late 1990s, the gear was not too heavy to completely restrict the work to a certain sex or physical-ness. The women I have worked around have taught me more than the men. They offered up different opinions and styles birthed from a different perspective.

As time progresses cameras and the weight of the gear definitely have become less and less of an obstacle for aspiring women filmmakers. So why are we still faced with far fewer women cinematographers and camerawomen? A C300 Mark II is a fraction of the weight of a Sony SP Beta Camera or Panasonic’s original ENG P2 camera. To me, if we have a population of 50/50 men and women then shouldn’t we have a 50/50 split in the world of production? Shouldn’t there be as many women cinematographers as men?

Women in film
Nashville-based Armanda Costanza

Sony’s (FIG)

Women in FilmLast Fall, Sony launched its Community of Female Video Creators on Facebook and they’re calling it (FIG). This is a community of female video creators as well as a place for women to talk about and share their work experience with other women who work in production. It is a step in the right direction, and a great one, by a company who understands the value of women in its ranks.

When I attended FIG’s first, and so far only, event in Nashville I was met with far more creative and collaborative female filmmakers than I expected. Sony had also sent down many of their female executives, engineers, and designers. At the time, I had just wrapped up my review of the Sony FS5 so I talked camera tech with one of Sony’s engineers for part of the evening. I see this as evidence Sony, as well as other companies, values women to help make the gear we all use and love. If you are thinking camera tech is too “techy” for women to understand you may want to think about who designed your “high-tech” camera.

Alden shooting on the Sony FS7

One of the women highlighted during Nashville’s Sony FIG meet-up was Alden Allen. Alden has been a collaborator with Contrast Visuals and Consulting as well as having a thriving freelance career working in the music industry in Nashville. Alden is a great example of women working in film and television. She is a jump in feet first kind of collaborator who will not hesitant to take charge to ensure each project has the best visuals. We need more young women video creators like Alden. As producers, we need to look for more diversity in our crews.

I think back to my time in film school and my experience on sets and I remember it being a very male dominated world. Maybe we should be asking how to change this instead of talking about the latest version of “Ghostbusters.”

Women in film

Alden Allen lines up a shot
women in film
Former co-worker Sarah Gannon hauling her gear around

Moose Ears backpacks: the return of a classic

Moose Ears backpacks: the return of a classic

The original 1998 ‘Moose Ears’ backpack design with auto-close compartment flaps is back, on three versions designed for wildlife and safari photographers… and other photographers and videographers looking for a bag that carries a lot of gear but still fits in the overhead compartment of the smallest regional jets.

Back in the 90s Moose Peterson released three travel backpacks with a unique “Moose Ears” function that allowed access to gear, but provided a barrier to dust, other elements and prying eyes. The bags also looked like normal travel bags and not photo gear backpacks. Now, working in collaboration with Moose, the designers at MindShift Gear have upgraded the three backpacks while retaining their unique look, feel, and functionality.

The Moose Pack series is available in three sizes: MP-1, MP-3 and the smallest, the MP-7. A new MindShift Gear family of bags that has odd numbers because, as Moose Peterson says “I am odd”. The video used as a presentation for the bags is a good moment with some laughs and Moose’s usual willingness to share is experience with backpacks and photography. Take 10 minutes of your time to watch it. A microphone is the first thing Moose takes from inside the bag… so this is also a bag for the videographers out there. In fact, the three compartment layout makes for a good way to separate gear: lights, sound and camera/lenses.

Moose Ears backpacks: the return of a classic

The backpacks, depending on size, can carry up to three DSLR camera bodies with telephoto lenses attached–up to 600mm f/4. This strategy enables photographers to be ready to capture wildlife at any distance without changing lenses or exposing the sensor to the elements. The backpacks also feature the same innovative “Moose Ear” flaps that close automatically, protecting camera gear from dust and debris common in wildlife photography. And because nature photographers often travel to remote locations, the packs are designed to meet airline carry on requirements, and even fit in the overhead compartment of the smallest regional jets.

Even the small backpack, MP-7, fits a lot of gear. It holds 1 gripped body attached to 70-200mm f/2.8 and two ungripped bodies with primes attached, two flashes and accessories. Or it holds 1 gripped body and one ungripped body with 70-200mm f/2.8, 24-70mm f/2.8, 14-24mm f/2.8 (or 16-35mm f/2.8), a 2x teleconverter, two flashes and accessories. With a weight of 3.3 lbs. (1.5 kg), the MP-7 costs $199.99 and seems to be an ideal “one day” backpack solution many have searched for.

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The MP-3 can carry 3 gripped DSLRs with lenses attached, 1-2 additional lenses and 1-2 flashes and accessories, or 3 gripped bodies and 1 ungripped body detached from lenses, 4-5 standard zoom lenses, 1-2 flashes, a 2x teleconverter and accessories. It’s weight is 4.6 lbs. (2.1 kg) and the price $279.99. In terms of maximum lens size, it holds a 600mm f/4 detached or 500mm f/4 lens attached to a gripped body.

The MP-1 sits at the top of the line, able to carry 3 gripped DSLRs with lenses attached, 3-5 additional lenses, 2x teleconverter, 1-2 flashes and accessories or 3 gripped bodies and 1 ungripped body detached from lenses, 7-8 standard zoom lenses, 1-2 flashes, a 2x teleconverter and accessories. It can hold a 800mm detached, as Moose Peterson shows in the video or a 600mm f/4 attached to a gripped body. MindShift Gear notes that 600mm lenses need to have the short foot; for example, the Nikon 600 must be fitted with the RRS LCF-13 or Wimberley AP-652. The MP-1 weighs 5.1 lbs. (2.3 kg) and costs $349.99.

Moose Ears backpacks: the return of a classic

Moose Peterson is a recognized Nikon USA Ambassador, Lexar Elite Photographer, recipient of the John Muir Conservation Award, and Research Associate with the Endangered Species Recovery Program. He also shares his knowledge through writing, being published in over 143 magazines worldwide, authoring 28 books including Photographic FUNdementals and Taking Flight and Captured, and lecturing across the country to thousands of photographers. As one of the original Nikon shooters to receive the D1 in 1999, Moose became the first wildlife photographer to shoot strictly digital.

“Moose Peterson backpacks are renowned for serving the needs of traveling photographers,” said Doug Murdoch, Think Tank Photo’s CEO and lead designer. “It has been a joy collaborating with him on bringing these classic designs back to the marketplace. While their design and materials have been enhanced, the designs of all three backpacks retain Moose’s original vision.”

Better sound with the new H4n Pro

Better sound with the new H4n Pro

If it’s high-quality four-track audio recording for music, film, podcasting, and beyond that you need, take a look at the H4n Pro, sometimes presented as “the filmmaker’s favorite”. Zoom has taken everything creators love about the original H4n and brought it to the next level.

Featuring advanced microphones, high-performance mic preamps, and an extremely low noise floor, the H4n Pro is packed with features that make it perfect for capturing audio for film. The onboard X/Y microphones deliver, according to Zoom, “spectacular stereo imaging, and two combo input jacks allow you to use your favorite microphones as well. It also includes a headphone/line out jack to easily send high-definition stereo directly to your camera.”

The H4n Pro’s state-of-the-art, built-in condenser mics capture sound with remarkable clarity and definition. Newly updated to handle up to a thunderous 140 dB SPL, creators can count on distortion-free X/Y recording in even the loudest environments.

Better sound with the new H4n Pro

The Pro’s two XLR/TRS inputs utilize the same high performance, low-noise mic preamps as the Zoom H5 and H6 Handy Recorders. The improved noise floor (-120 dBu EIN) allows for audio capture with less noise and fewer artifacts.

The new rubberized, ergonomic body is perfect for use in the field. Newly added locking combo connectors ensure mic cables stay secure. A headphone/line out jack makes it easy to send high-definition stereo directly to a camera, while a built-in monophonic reference speaker provides quick audio reference in the field.

The H4n Pro also features three recording modes, built-in studio-grade effects, and the ability to function as a 2-input/2-output USB audio interface.

Running on 2 AA batteries, the Zoom H4n Pro Handy Recorder provides up to 6 hours in normal operation or 10 hours in stamina mode. The recorder accepts SD and SDHC cards up to 32 gigabytes allowing for 30 minutes to 555 hours of recording time depending on the format.

The Zoom H4n Pro Handy Recorder costs $219.99. If you need a versatile audio recorder, check it out!

DJI’s Zenmuse now has a zoom!

DJI's Zenmuse now has a zoom!

With a focal length equivalent to 22-77mm, the new Zenmuse Z3 is based on DJI’s Zenmuse X3, although extending the optical capacity of the system.

Purists should know that the 7x zoom is made up of 3.5x optical and 2x digital lossless zoom. Still, DJI claims it offers good quality, although they point it as ideal for industrial applications. It may be so, but the appearance of such a zoom creates the conditions for its use in other areas, as expected. Aerial photographers will appreciate the greater control over composition that the new zoom brings.

“The Zenmuse Z3 pushes the possibilities of use for industrial applications,” said Senior Product Manager Paul Pan. “Before this camera, the only way to zoom in on a subject or object was to fly closer to it. Now, pilots in a search-and-rescue situation, or conducting surveys or inspections, can maintain distance and still zoom in for sharp, detailed images.”

DJI's Zenmuse now has a zoom!The Zenmuse Z3 is fully integrated into the DJI GO app and provides a seamless user experience, including a live feed from the camera and the ability to change camera settings, swipe to zoom in and out, capture photos or video and to activate intelligent flight modes. Users may also choose to employ camera controls, such as capturing photos and video and zoom, through their drone’s remote controller.

The Zenmuse Z3 is compatible with the Inspire 1, Matrice 100 and Matrice 600 drones and uses the company’s dedicated HD video downlink, Lightbridge and Lightbridge 2, providing up to 3.1 miles (5.0 kilometers) of HD transmission range.

The Zenmuse Z3 weighs 262-gram and its optical system has a maximum aperture of F2.8 and F5.2 at 22 millimeters and 77 millimeters, respectively. When the camera zooms in, the smallest movements are magnified. Adding an additional layer of fine-tuning to the yaw control of the Z3 is a custom-designed reaction wheel. This works in tandem with the normal yaw motor to allow for more refined and controlled movement and greater stability.

The Zenmuse Z3 features the same highly refined Sony 1/2.3-inch sensor that is found on the Inspire 1 and the Phantom 4, leading the class in image quality. It can shoot still images at 12 megapixels with additional Adobe DNG Raw Support for maximum editing options in post-production. The camera also shoots video at up to 30 FPS in 4k resolution.

Flight time with the Zenmuse Z3 is up to 19 minutes on the Inspire 1. Pilots can extend flight time up to 30 minutes with the dual-battery-equipped M100 and up to 39 minutes with the M600.

The Zenmuse Z3 is priced at $ 899 and will start shipping after July 28, 2016.