Took a screenshot just in case it might disappear:
From this info we can fairly easily deduce this is likely:
Uses AA / Sony L-type batteries.
Writes to SD cards.
And works with the Wingman app.
From the name I will guess it does 10 tracks, and has a time code generator built in (unlike the MixPre6 or MixPre3, which need time code to be permanently sent to it, as can’t keep TC accurately otherwise. Which is great news the next MixPre will have TC built in, as I was disappointed to realise the MixPre6 will lose tracks 5/6 if you need TC while it is in your bag).
Annoyingly when you click on the “MixPre-10T Tech Notes” link you get asked for a username and password:
Wonder how many XLR inputs it would have? I am very extremely doubtful it would have all 10 inputs be XLR inputs (like the Zoom F8 does with all its 8 inputs), likely only a few will be powered XLR inputs just like with the MixPre6, 663, and a number of their other products. Probably at least four will be XLR inputs, as that is what the MixPre6 has (but then again the 633 only has 3x full sized XLR inputs), and the rest will be something else like 1/4″, 3.5mm, or TA3F (I’m highly skeptical if we’ll see a digital input such as AES3/AES42 in a low end recorder series such as the MixPre).
Hmmmm…. I wonder what the price will be? I might have found my upgrade path forward from my Zoom F4! Depending on the exact mix of features/price that the MixPre10T has.
Presumable the price will between the Sound Devices 633 at US$3.3K and the MixPre6 at US$900, but that is a massively price gulf! And likely the reason why Sound Devices is bringing out such a product, to fill this niche?!
You will wonder what will the MixPre-10T would be missing so that it doesn’t compete too strongly with the 633/688, I imagine output options and Dugan automix would be a couple of many ways they could differentiate their products.
When will this Sound Devices MixPre-10T came out? If some details are already being put onto their website (and Google cache tells me it has been up since at least the 5th of September 2017) then you would assume the MixPre-10T is already reasonably far along with its development. However actual release might not be days away, but still months away. So I’d predict/hope the MixPre-10T will be announced by at least next years NAB 2018 in early April.
A little quirk in the URL that I’m wondering about is this, compare:
Hmmmm……. same pattern with the “tn” in the front like with the MixPre-10T?Does this mean the MixPre-10T is going back to its roots and is not a recorder but instead just a mixer / USB interface like the MixPre-D is?
I don’t think so, am probably just going a teeny bit crazy overanalyzing these tiny details and in reality this difference means nothing at all! Ha.
Because the name “MixPre-10T” with a “T” at the end very strongly indicates it is a recorder with time code in it, and not just a mixer, as we’ve seen from the past naming of the Sound Devices 788T / 744T / 702T. But Sound Devices has never ever released a mixer with a “T” at the end of the name.
But if you feel there is some deeper meaning as to what these “tn” letters mean, then hit me up in the comments and let us know!
Anyway, I’m looking forward to hearing more about the MixPre-10T when it does finally get announced. I’ll update my current overview of all the lower end recorders when it happens:
Wrote up a little guide for people new to this and looking to buy their first recorder as a location sound recordist. And is the way I see the world of low budget recorders is they’re ranked like this (starting from worst/cheapest to best/expensive):
Tascam DR22WL / Zoom H1 (I’d suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! 😮 Shocking but true… everyone starts somewhere!)
Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist)
Tascam DR70D (the *minimum* I’d recommend for a location sound recordist, even if you’re just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I’d just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn’t come out until a few years later… you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price)
Zoom F4 / Zoom F8 / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I’d see you’re now reaching the semi-pro level)
Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the “industry standard” when it comes to recorders people use for small shoots, especially when mixing from the bag. If you’re doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this)
And if you considering ones priced above those last three…. you’re surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! 😛 But yes, tonnes and tonnes more options exist at the higher end as well!
Finally, if you’re considering something in the budget range within what I just covered, but isn’t one of those that I mentioned, then it probably is *not* a good idea to buy if you’re intending to be a location sound recordist.
Something else only might *maybe* make sense if you’ve got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you’re the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if “the price is right”.
For instance I didn’t include the Roland R88, as I feel it is extremely poor value for money in 2017! However…. there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn’t a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming.
Anyway, that was just one example which might have been applicable but isn’t now, so I don’t rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won’t be applicable, and just stick to going with one of the main ones I mentioned earlier.
Wellllll…. that isn’t exactly what the Nikon spokesperson said, but it is a close enough paraphrasing!
Not only is this offensive to many of their customer base, it is also dumb of Nikon to ignore this growth opportunity for them.
Here is what he said:
“There are two types of high end users [using video]’ explains Kikaota: ‘those who started [their careers] shooting still pictures, but also there are a lot of customers who started with video. In our company we have two types of customer. It’s difficult to make one solution to fit for both of them.’ ..Shooting video with current cameras can often be quite complicated, we suggested. ‘[This] complicated operation is fit for the customer they started shooting from video. On the other hand there are professional [stills] photographers: they are not yet used to using video, their demand is easy operation. So there are two types types of people. It’s a big problem.”
What the hell Nikon!!! This is madness.
In a world in which the market share for dedicated stills cameras is massively declining each & every year, Nikon can not survive by focusing on only 1 or 2 niches, they need a broader platform to support themselves. The video/film world is an obvious & natural next step for them.
We’ve always been wondering why Nikon, that has no Cinema line to protect, literally resists to offer pro video features. and now, in this DPR interview, I can see why. They fear the pro video features confuse their conservative still shooter user base! Really unbelievable! Yea, maybe they’re right, many of their customers have no clue what video is, let alone stuff like log profile, focus peaking, color sampling, codecs, LUTs, grading,… and even if they need to record a short clip they want it to be just Start/Stop operation. But how on earth this can be justifiable excuse to not delivering features serious video shooters are asking for years? Just add a dedicated menu, or charge for Premium Firmware if you wish, whatever. Why it should be a “big problem” for a company that brought the video to the world of DSLR?
What many do not realise is Nikon are ahead of Canon when it comes to DSLRs vor video (if you focus on only comparing their stock DSLR bodies, and ignore Canon’s Cinema line up as they’re not DSLRs), but the gain in switching brands is not really large enough for everyone (it is for some though) to make it worth switching. Because people’s very large investment in lenses (and other brand specific accessories, such as batteries and flashes) makes it a considerable expense (in time & money) to switch brands. Thus people tend to be stick with staying with the same brand even if the improvements are only quite small each time.
As if you’re going to switch away from Canon…. why not just go to Sony or Panasonic instead? That is Nikon’s problem in attracting video shooters away from Canon, they can’t just moderately beat Canon in the video world by little bits (like they have with the D5200, D750, D500, etc). Especially not while they’re stilling lacking a pathway up from DSLRs for video shooters.
Many manymany of the thousands upon thousands of Canon DSLR video shooters moved on up to using a Canon C100 (and of course many then moved on up to the C300 after that, and a few even to the C500. Thus the huge Canon DSLR base of video shooters acted as a feeder network into their Cinema range, which in turn then encouraged more people to start out with a Canon DSLR for filming with).
Nikon needs to also bring out a higher end above that is focused on video to complement their video DSLRs (such as the Canon C100/C300 and Sony FS5/FS7 does).
As for their DSLRs, Nikon needs to just have one setting: “Unlock Pro Video Settings”
Default send it shipped out set to “Off”, but then users can switch it to “On” which will enable several more pages and submenus worth of video settings to be viewable. Then when it gets enabled you can have access to all the goodies such as Waveforms, heaps of codec options, LUTs, log profiles, 10bit 422 internal, and more! (is what I dream of!)
But when “Unlock Pro Video Settings” is set to “Off” all that complexity is hidden away, and the user is presented with a simple interface just like Nikon has now for video. This is not a new concept in UI, this is often implemented on many devices already.
UPDATE: nope, unfortunately it is just the Panasonic FZ2500 (unless Panasonic has another superzoom camera secretly under development it plans to release very shortly after the just announced FZ2500??? While an FZ2500 with a constant f2.8 lens would be wonderful, I highly doubt Panasonic is bringing out a new camera for this particular niche so soon after the FZ2500 announcement).
This does however strike me as very odd, that Panasonic lends “The Camera Store TV” a camera marked “confidential“ which has been announced in all its detail, can be pre-ordered, and even has had many multiple hands on reviews online already. So why on earth mark it “confidential“??
Anyway, you can see for yourself by looking at this picture of the Panasonic FZ2500 and comparing it with the image from Jordan Drake, they appear to be the same:
First photo of the Panasonic GH5 in action out in the wild! There had been doubters as to if Panasonic is up to the stage yet of having a prototype Panasonic GH5 body to hand out to outside testers to try out the GH5 for feedback to give Panasonic, well you can’t get a clearer confirmation than this:
Clearly by just looking at the picture you can tell it is a Panasonic body! But if you need even further proof of this, you can see Panasonic Lumix Canada’s response on Instagram “Anything for you guys Jordan !!” (Jordan is the name of the videographer for The Camera Store TV) and on Twitter:
Next question is which Panasonic body is this?? Due to the placement of the viewfinder we can say there are only four possibilities:
1) Panasonic GH4 successor (a Panasonic GH5)
2) Panasonic G80 successor (a Panasonic G90)
3) this is just an old photo taken before the Panasonic G80 announcement (but only now being shared after the G80 announcement)
4) an entirely new line of cameras
As the Panasonic G80 only just came out, and we already saw the Panasonic G7 released after the Panasonic GH4 came out, it seems very unlikely there will be a Panasonic G90 coming out before the Panasonic GH5 is released.
While there is maaaaaybe a chance Panasonic is releasing a new line up of cameras, perhaps their take on a Canon C100 body but with a MFT sensor inside it? That however seems very unlikely.
If you compared this picture with the back of the Panasonic G80, you can see it clearly is not the G80. So we can rule out that possibility.
Thus the only reasonable conclusion we can have, is that this is the Panasonic GH4 successor, and we’re seeing here the first ever picture of the Panasonic GH5 body in action (and not just the mock up that Panasonic showed at Photokina hidden in a glass case).
How does this compare to the current Panasonic GH4 body:
We can see this Panasonic GH5 prototype has moved the Q.MENU button up to be next to the AF/AE LOCK button, and thus presumably the record button has been moved elsewhere? I wonder where…. presumably on the top, like we can see here on the Panasonic GH5 mock up shown at Photokina:
(one small notable difference between these two pictures however is that Photokina Panasonic GH5 mock up appears to have a button (small joystick?!) located between the AF/AE LOCK and the EVF, however you can’t see this in the Instagram picture? Unless maybe the angle of the photo means it is obscured by the eyecup, but I doubt it)
Couple of key conclusions we can take from this is that Panasonic is well developed along their process of bringing out the Panasonic GH5, so we can be very confident it is indeed on track to be released in the first half of 2017, and that it is very encouraging that Panasonic is actively seeking out and getting feedback from a wide range of top notch users (such as Jordan Drake, Illya Friedman, Griffin Hammond, Luke Neumann, Chris Niccolls, & Nick Driftwood, just to name a few). Means the Panasonic GH5 is sure to be an excellent and well polished product when it is launched! (just like the GH1/GH2/GH3/GH4 have each been!)
Looks like the bastard awful days of micro HDMI might be over? I’ve heard from a Panasonic GH5 tester that it will have *full size* HDMI! (am very happy to hear that!) One stop better as well, and IBIS too.
In other news, we can see this on top of the GH5 body at Photokina:
Very pleased to see, as I have many times suggested, that Panasonic should go with a Sony XLR-K2M audio addition instead of doing another YAGH again!
While it is exciting reading about all the new features the Panasonic GH5 will bring (such as 4K 60fps or 4K 30fps 10bit 422), it is somewhat depressing reading on other places on the internet how quick the anti-MFT trolls are out, and of course their first red herring is “but it sucks at low light”.
This low light argument reminds me of the megapixel race, sure there was big benefits from going from 2 megapixels to 5 megapixels, then to 12 megapixels, but then at around 16 megapixels to 24 megapixels range… the arguments got a lot weaker. And for 99.9% of users we don’t need 50 megapixels!
Ditto low light, not being constrained by 50 ISO film is AWESOME, then getting to 200 ISO… great! And now we can do workable 800 and 1600 and even 3200 ISO!
The Panasonic GX85 is as good in lowlight as the new Canon 5Dmk4 (but the GX85 is a fraction of the cost! & has better detail):
Let’s assume GH5 carries on and is one stop better even than that? How is that not a very workable ability to handle?
Do we NEED to have clean 100,00 ISO?? Nah, that is over the top in nearly all cases. Like having a 100 megapixel camera (for some people they’ll *need* that, but for most of us it is serious overkill and a bad compromise to purchase a 100 megapixel camera).
Plus remember there is the Metabones Speed Booster XL that gives Micro Four Thirds an extra 1.3 stop gain with the lens you’re using, nothing else has that aside from MFT. And Micro Four Thirds mount has access to a uniquely wide range of very fast lenses (I love my SLR Magic 25mm T0.95!).
I’d rather pass on the unnecessary over the top extreme high ISO capabilities and have instead the well polished and extensive range of features that the GH5 will have (just like Panasonic had each time with the GH1/GH2/GH3/GH4, relative to the other cameras of their time). So while yes I agree, better lowlight would be nice, let’s keep some perspective about this (when do you ever hear anyone complaining about lowlight from a new Canon APS-C release?!).
News got leaked accidentally by B&H that a new Zoom F4 is coming.
I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.
Now the F4 is even cheaper (US$650 vs US$1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The “F” = field recorder, “H” = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.
But everything else (such as pre amps, and time code) is basically exactly the same as the F8! Some things are even an improvement, such as adding camera return to the F4 that was missing from the F8, adding extra short cut keys to the top of the F4, and using XLR outputs instead of the TA3 outputs the F8 has.
Having the missing XLR inputs from the F8 is not such a big deal for many prospective F4 buyers, as 4 XLR inputs is plenty for many small/medium jobs. And when you need a bit extra, adding in two more XLR inputs for a total of 6 XLR inputs is cheap to do with the Zoom EXH-6:
The F4 is positioned quite interestingly, as it has nearly everything from the F8 (except for the extra XLR inputs and the tablet app), yet the F8 is a small enough bump up in price it will tempt a fair few people to spend a little more for those couple of extra features… however for many other people the F4 will suit them perfectly, as they won’t need more than the usual 4 (or occasional 6) XLR inputs and they won’t be using a tablet for mixing (but I would like to use a tablet for entering metadata! Hmmm…).
Andrew Jones (who was one of the testers of the F4 for Zoom) said it is almost the same size as the F8, but (strangely!) is a tiny bit heavier. I guess cutting out a few XLR inputs does not save much weight, but where does the extra weight come from? Maybe it is more robustly built?
Crazy idea time: what next for Zoom after the Zoom F4? Is a “Zoom F2” next? The idea might sound hilarious! But being serious now, if it is bag friendly (a very small bag!!), ultra lightweight, and very cheap (perhaps US$400ish? Keeping the 50% price jump ratio from F2 to F4 to F8), then a Zoom F2 certainly would be popular!
For many jobs 2x XLR plus an extra stereo input (for up to 4x ISO tracks) would be plenty! (Plus a L & R XLR output, plus Timecode, etc… just like the F4)
Heck, for the last couple of days I’ve been doing a job with my Sound Devices 552 which only needed the one XLR for the boom to be recorded, plus one XLR output to be sent to the Sony F3 as a reference scratch track.
A “Zoom F2” would even be overkill for that! Could you pretty please make this “F2” dream come true Zoom?
Blurb and specs list from B&H (page is currently down, you need to use Google cache to view it):
Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.
The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.
The F4 offers four combo XLR-1/4″ inputs, a 1/8″ stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other.
Each of the four XLR-1/4″ inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4″ headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8″ stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.
An easy-to-read 1.9″ LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.
Six-input / eight-track multitrack field recorder with integrated mixer
Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
Compact and lightweight metal chassis, weighing just two pounds (without batteries)
High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync
Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector
Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel
Phantom power (+48V/+24V) on every preamp
Advanced on-board limiters for input and output
High-pass filter, phase invert, and Mid-Side decoder
Input delay of up to 30ms per channel / output delay of up to 10 frames per output
Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning
Dual XLR balanced Main Outs plus 1/8″ stereo mini-jack Sub Out
Dedicated headphone output (100mW) with front-panel volume control
1.9” white, backlit monochrome LCD
Dedicated PFL display with viewable trim settings
Dual SD/SDHC/SDXC card slots, up to 512GB each
Records in BWF-compliant WAV or MP3 file formats
Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.
Built-in tripod mount; camera-mount adapter also included
Use as a 6-in/4-out USB audio interface (@ 96 kHz)
Yessssssssss! Been eagerly waiting for them to fill in the gap between 16mm and 24mm (if you are shooting S35, or 14mm to 24mm which is an even worse gap if shooting “full frame“), as that gap was just too darn big! Rather annoying not having anything between those two lenses, so I’d been saying for a long a time Samyang/Rokinon needs to bring out a 20mm prime. Now I just need to save up the US$600ish the lens will cost.
It is a little slower than the f-stop of the 24mm/35mm/50mm/85mm which are all f1.4, but that is ok as it is a 20mm lens and it is much harder to design fast wide angle lenses. Likely a 20mm f1.4 would’ve meant significant compromises with weight/size/quality/price. And the 20mm is already a little faster than the 16mm which is f2 (& much faster than the 14mm f2.8).
The 20mm f1.8 is a full frame lens which will be available (eventually) in all the usual mounts: Nikon F, Canon EF, Pentax K, Sony A, Sony E, Micro Four Thirds, & FujiFilm X. (I nearly always recommend buying these only in Nikon F mount however because they’re manual lenses, & that will give you the most flexibility in what you can use this lens on)
Here is the announcement from Samyang (same as Rokinon really):
August 8th, 2016, Seoul, Korea – The global optics brand, Samyang Optics (http://www.samyanglensglobal.com) has today introduced new manual focus lenses for full frame DSLR cameras: 20mm F1.8 photo lens and 20mm T1.9 cine lens. As known for the brand’s wide and bright lenses, Samyang 20mm series adopted bright F1.8 aperture to provide perfect wide angle for interior shots and landscapes.
Explore Your Wideness with Samyang 20mm Series
The Samyang 20mm F1.8 ED AS UMC and 20mm T1.9 ED AS UMC are wide angle manual focus lenses for DSLR cameras with full frame sensor size. It has been a year that Samyang launched the full frame DSLR camera lens and latest lens was the 135mm series.
Samyang Lenses are known for its bright apertures and so does this Samyang 20mm series. These two lenses have a bright aperture of F1.8, equivalent of T1.9 for cine lenses, to offer a best quality images under various lighting conditions. Also, the lightweight Samyang 20mm series brings the portability to increase the convenience.
Based on Samyang Optics’ exceptional optical technology, 13 glasses in 12 groups are used to create the most optimal image quality. Among 13 glasses, there are 2 aspherical lenses and 3 extra-low dispersion lenses per lens to minimize aberration and unnecessary light dispersion, delivering high resolution from centre to corners of the image.
This 20mm angle of view was designed to fulfill consumers’ requests to explore various occasions with Samyang Lens. In between ultra-wide 14mm and wide-standard 24mm, 20mm lens is a perfect fit to explore wide angles not only for shooting indoor images such as concerts and interior photos but also street snaps. The 0.2m of minimum focusing adds versatility to the lens.
Add Samyang 20mm T1.9 to Your Samyang VDSLR Kit
Specifically, the Samyang 20mm T1.9 is a cine lens optimally designed for professional follow focus system, thanks to the quiet and smooth de-clicked focus and aperture gear rings. Also, the distance scale and T numbers are marked on both sides of the lens for convenience when filming.
The best partners to explore your wideness, the Samyang 20mm series is globally available from September. The suggested retail prices are EUR 499 for 20mm F1.8 photo lens and EUR 549 for 20mm T1.9 cine lens.
For more information, please visit Samyang Optics official website (http://www.samyanglensglobal.com), Facebook page (http://www.facebook.com/samyanglensglobal) and Instagram (http://www.instagram.com/samyanglensglobal).
Spotted this text from a Saramonic employee on Facebook: “It provides XLR connector and 48V phantom power, recording 24bit/48kHz wav audio files to MicroSDHC card, capacity up to 32GB” (minor tweak by myself to fix her typo)
The name of this new product is going to be “Saramonic SR-VRM1”.
A few important points I’d like to see the Saramonic SR-VRM1 have:
As well as internal power (AA battery?), a way for it to be externally powered as well (even if it is as simple as a USB port to power it by. But please not mini USB! Make it be at least Micro USB sized, or even better full size USB). That way we can use it for long recording takes unattended, until the card fills up. Or can be used in your mixing bag as an small back up recording, without needing to concern ourselves about keeping batteries topped up.
Some way to pass out audio (just like the Tascam DR-10CS has, and many other recorders), ideally XLR, but even just a 3.5mm output would be ok & better than nothing.
Have both one XLR input, and one 3.5mm (a locking 3.5mm please!) input, so we’ve got that choice.
Saramonic confirmed it is coming soon with this tweet which links to my tweet of this blog post: