Zraw in Davinci would be incredible. I think it's a Davinci issue though. I'd also love to have camera control integrated into some other monitors. I have an Atomos Shinobi and it would be awesome to be able to control the camera with it.
@@pogoprofilms I'd love some transparency or clarification from either side on why it's not happening. Great call on camera control for different monitors! SmallHD has a really nice control feature for the RED Komodo. That's something I'd love to see on more cameras.
Good thoughts on the Z-Cam lineup. I'd like to mention that high end grading is pretty evenly split between Baselight and Resolve if I remember right. Not that that helps, though, because I'm fairly certain Baselight doesn't have Z-RAW compatibility either. I honestly think, though, that the monitor doesn't need to provide a preview output. They should just sell it piecemeal, or keep it as is, but limit it to shot information, rather than displaying the image. Having a monitor on the body, especially when the body is as small as it is will never be as good as a dedicated option. Having it be more of a tool for the AC/Operator to see settings quickly makes more sense for the form factor they're going for. I agree on the SDI thing, though. Give me two outputs on the right side of the camera and inset them if possible. If they add that, the camera can actually stand with the competition with a professional output connector.
Those are all valid points you asked to improve Joe. I doubt ZRAW will come to Davinci as BM have their own RAW format and want to sell their cam's prefered.
I don't know, I think that with enough demand it may still happen, especially if the ZCam continues to grow in popularity. Remember, Blackmagic wants people to switch to Resolve. Not leave it.
I don’t know. Resolve is $300 and they give it away for free with pockets. From a financial perspective I don’t see why they would offer support for a direct competitor. It would make more sense to make a camera size wise as the Komodo and Zcam, and profit much more than on a people switching to their software. I don’t think BMDs profit is in davinci. 10 people with zcam that buy davinci is $3000. 10 people that buy a bmpcc6k is $20,000. Just my humble opinion. Who knows what the future will hold.
@@robertsenese3188 I don't think their profit is Resolve either, I think it's in all of those panels and switchers. But correct, it makes more sense for Blackmagic to sell cameras.
Hello, great video! I have a few questions because I´m so confused about what camera to buy next - mostly leaning to the "cinema" types. In general I´m confused, because on paper - the E2 F6 seems superior to EVERY OTHER "budget" cinema camera, even the ones that are just coming out. I mean, FULL FRAME 6K 60FPS right? Komodo: much smaller sensor, super35 (APS-C) and doesnt go up to 60 fps unless you go down in resolution with a lot of crop. C70: not full frame and only 4K S1H: 6K but only 30fps, go higher and resolution goes down hard. A7SIII: 4k... FX 6: 4k... So I have to assume that the reason that the zcam E2 F6 isnt the most hyped thing ever are for the reason you mention in this video, especially in terms of post work. And it doesn´t have the ridiculous hype as a RED camera WITH "GLOBAL SHUTTER".... And I honestly dont get people who say they dont need higher resolution than 4K .... higher resolution means more freedom in post to crop/change composition or add stabilization and MUCH more. Doing that with 4K footage, when you final output video is also 4K, you will have obvious change in quality. Hope you have some extra thoughts you can share with me here, even though you might be repeating yourself :) Have a nice day!
I appreciate you watching! I think that with more time, the ZCam E2 series will get more and more popular. I wanted to jump onboard BEFORE it gets popular ;) Did you know that ZCam has a global shutter version of the S6 coming out?
1. I'm sure you know that you can assign even the EV to be whatever you want, like aperture. 2. File recovery, using the zcam concatenator app solves it, super easy and fast. It's automatic so just point it to the card and it'll take care of the files for you. 3. ProRes RAW has nothing, absolutely nothing to do with zcam. Blackmagic need to support it themselves :)
1. Yep. Still a pain to have to map custom function buttons for such an important setting. That function button could be used for something else. 2. This video was recorded prior to the firmware update that fixed this issue., 3. Still doesn’t change the fact that they’ve abandoned development for ZRAW, which was a huge selling point for many buyers. Now it’s basically ProRes RAW or no raw at all. ZRAW is virtually unusable since the ZRAW suite is flat out horrible. I’m saying this as someone who has been shooting client work on Z Cams for over a year now. It’s a very stressful yet amazing camera that I have a love & hate relationship with.
Nice video. Good work. Would be nice to see a non scientific comparison between the zcam e2s6 vs the Red Komodo to help potential buyers decide. I recently went with the S6 btw and really enjoying this camera coming from a sony and canon world. In fact, I just cancelled my preorder for the sony A7siii as the zcam has exceeded my work style expectations.
@@joenicklo Kool..Excited to see that. Interestingly enough, you don't see any comparisons of the "6k cubes" or "6k shootouts" such as the Komodo, S1h, Kinefinity, BMPCC6k, Zcam, etc. You would think a comparison like this would be ripe for a shootout. 😜
Soltys Cameras in Ohio is a service center and sales. They do really quick repairs & service. www.soltyscameras.com/ That's the only one I know of without doing a Google Search.
hey, so I tried out grading the footages that you have linked in the description,(again, thank you sooo much for that)and I love the way I can grade the footage without limitation like the s-log-2 and the s-log-3 on the a7iii...I would love to grab a Z-cam E2 S6, but I would need to see what else can come close to being able to grade better without limitations..btw..what were the settings on the Scam S6 when you shot the footage of the young woman pulling the ropes? I was having a bit of an issue grading that, but I think it is more managable than an a7iii footage.
Unfortunately, it is on Blackmagic to add ZRaw support and, seeming that they still don't have support for ProRes RAW, I think it'll be a while... Z Cam has worked with every other NLE they can to add support. I still hope Blackmagic can get that added, but it's out of Z Cam's hands. Also Baselight and Assimilate Scratch are both industry standards for color grading. Scratch has support for Z Raw and both have support for ProRes RAW.
Avid Media Composer has ZRAW support? ;) I think you meant that ZCam has worked with Premiere and Final Cut Pro, not "every other", but yes I get what you're saying. As far as Baselight and Scratch, I'm unfamiliar with the programs since I've never used them but have heard of them. I don't work on high-end projects but I do know that Resolve is still an industry standard for commercials, short films, TV shows etc.,
@@FTGTapGod Agreed. For now, we'll have to just make the best of it. I was very disappointed at the performance of the ZRAW Video Suite. On my system (which is no slouch mind you) playback of 4K ZRAW was impossible. Not sure what the issue was...
I currently use the Z Cam E2-S6 with raveneye and 3D focus with Sirui 1.33 anamorphic lens. I am looking to add a wireless transmitter to my rig... one that I can use the Ronin RS 2, Tilta float, and Hydra Alien with. BUT! I worry about lag time with focus pull using the 3D focus system on my prime lens when HDMI (loop out) from transmitter to Raveneye is used. Plus, I only have the one HDMI out from Z Cam. Not as informed of other choices such as SDI out to Wireless video transmitter and HDMI to Raveneye (Or if using the two at the same time is even possible from the Z Cam. Could you help me with this issue?
Sorry, I can't troubleshoot if I don't own the same products. Honestly though, the Raveneye isn't exactly a reliable wireless transmitter. Look into a Hollyland system.
I wanted to love mine...but sadly, I did not. It's insane to me, that the face of the company, Kinson, tells people to shoot ProRes and not ZRAW, claiming that he saw no benefit in shooting ZRAW over ProRes?! Secondly, you can only trigger an external recorder, while shooting in ProRes raw! If I switch my camera to say 422...I have to hit record on the monitor, which I don't understand why I'd even need the camera? And last, as you pointed out, the range of software to edit and color is limited. I LOVED shooting in ZRAW and exporting proxies to work on...but then what? I can't take the RAW files in to PPRO, because I use MAC and I can't bring them in to Resolve because it's not supported, so I'm stuck with Proxies or 4:2:0 H.265 (which looks great and works great on Resolve) or shooting 422. So I returned mine....maybe in the future, if they get everything ironed out. Funny thing.....I just got my turbomount after the first week I returned it! SMH...
@@joenicklo I haven't yet...I was really torn between the BMPCC and the ZCAM, so naturally I am leaning toward BMPCC, but with the Canon C70 coming out, rumors of a C50, Komodo, it's a good time to be in the market. I am really hoping that BMPCC will hop on the cube train, like Panasonic did! I do know that I don't need 6k. It's nice, but I think 4k is plenty. I feel like what you sacrifice for 6k vs 4k (FOV, Frame rates, file size) it's not worth it. Plus, I don't do VFX. I think I will see what Black Friday brings! I'll let you know what I decide.
@@joenicklo I just bought the Zcam Ew2 S6 and is wathcing a lot of your videos on it.. BUt how do you focus manually when the subject is moving and at difference distance.... I understand one way is to move with the subject at the same distance ...
@@WuAhGestudioproduction closing the aperture to F5.6 or further to give you a wider in-focus range would also be an option. Or practicing pulling focus manually.
Two main things Z-cam could do is to switch the rolling shutter to a global shutter and beef up the computer inside. But then, they might be called Red Komondo.
I don't understand why zcam tried to create their own raw format. Plenty of opensource formats already exist. If they offered cdng from the start a lot more users would be interested.
Personally I don’t care for cdng because of the much more difficult workflow. But I would like internal pro res raw support because I don’t like recording externally. At the same time though resolve doesn’t support prores raw and I don’t know if they ever will. For me there isn’t a great raw workflow unless I switch to blackmagic cameras or red. I’ve been considering red Komodo over z cam just for the raw support. Even though the price of entry is way higher than zcam. I’m super torn on my camera decision right now.
I haven't used the Ninja V with the ZCam yet, unfortunately, I sold my Ninja V long before I bought my S6 however if I recall correctly, the Ninja V has a recovery option built in.
@@joenicklo Yeah I saw that but it changes the whole rigging configuration and becomes this frankenrig when you attach that and than a teradek. The appeal of this type of box camera is the elegance and neatness of rigging and port configuration. I'm sure they'll come out with a camera with SDI soon.
Interesting thoughts. Looks like the file recovery option is there now, but I'm guessing part of that issue is the file type they are writing as some formats handle power loss well, and others do not. The ZCam is basically a shrunk down Arri Mini in terms of form factor and ergonomics. I'd be curious to see you look over the mini's features and your complaints here and see how Arri did (or did not) handle them in the mini to mini LF transition. Especially the buttons and button placement. I am 100% in agreement with you on the SDI, but I think they know that the majority of their market is going to be using HDMI and HDMI based accessories. Moving to SDI increases the cost and weight of everything. BNC cables are harder for small gimbals too. I disagree with the Aperture button as well. In the current form factor, it would make the current buttons smaller, and as a cine targeted camera, aperture is always controlled at the lens. If this was an ENG or run and gun, I'd agree with you. Oh, and AVID supports ProRes RAW as well. Like you, I work in Resolve, at least for RAW processing, and the lack or ZRAW support is keeping me on the fence about this camera. I need to upgrade in the spring, but haven't decided to what yet. The S6 is high on the list, but I may end up with the M4 instead. I hate DSLR format cameras for video and this thing is just about ideal. Kinefinity is still too rare, and while I think RED is OK, their ecosystem is just too pricey for me.
Man, I'd LOVE to test out an ARRI Alexa Mini, if I land a project w/ the budget that warrants renting one I'd do it but I'd need to learn the camera first of course. That's a good call on SDI driving up the cost/weight and accessibility, that is where the converter comes into play. I just hate that it takes up a battery slot. Theres sadly no other way other than another conversion box. I'd gladly pay a little more for the choice of HDMI or SDI. As for aperture, that's true. I have some cinema lenses but for the lenses that aren't full manual I guess mapping a custom button to aperture control is fine for now. This video was really just me nit-picking. I'll NEVER call a camera "the perfect camera" all out, because there is no "perfect" camera however the ZCam really doesn't have too much for me to gripe over.
@@joenicklo Where are you located? I can get my hands on an LF if there's anything you'd want me to look over or, if you're close, anything you want to look over.
What would you like to see ZCam change on the E2-S6, E2-F6 and E2-F8 cameras?
Zraw in Davinci would be incredible. I think it's a Davinci issue though. I'd also love to have camera control integrated into some other monitors. I have an Atomos Shinobi and it would be awesome to be able to control the camera with it.
@@pogoprofilms I'd love some transparency or clarification from either side on why it's not happening.
Great call on camera control for different monitors! SmallHD has a really nice control feature for the RED Komodo. That's something I'd love to see on more cameras.
@@joenicklo Definitely. I really want this little thing to succeed. Great video!
I think you summed up all my concerns. I'm just not sure I'd be willing to pay more for what Z-Cam offers before I consider a more reputable brand.
Actually they included file recovery in the last firmware Update, a couple of days ago, so that's One off the list :)
Hell yeah, that’s awesome news
Good thoughts on the Z-Cam lineup. I'd like to mention that high end grading is pretty evenly split between Baselight and Resolve if I remember right. Not that that helps, though, because I'm fairly certain Baselight doesn't have Z-RAW compatibility either.
I honestly think, though, that the monitor doesn't need to provide a preview output. They should just sell it piecemeal, or keep it as is, but limit it to shot information, rather than displaying the image. Having a monitor on the body, especially when the body is as small as it is will never be as good as a dedicated option. Having it be more of a tool for the AC/Operator to see settings quickly makes more sense for the form factor they're going for.
I agree on the SDI thing, though. Give me two outputs on the right side of the camera and inset them if possible. If they add that, the camera can actually stand with the competition with a professional output connector.
Great points. Either commit to displaying the shot or not. I’ve never heard of baselight. Learn something new every day.
Hey... Really nice footage. Was curious if you still use this camera?
Thank you. I ended up selling my Z Cams and got a Komodo.
@@lonesniper8684 check this video out as well: th-cam.com/video/NzR_CeCeDGo/w-d-xo.htmlsi=5hmUekhjQWaxiZZL
Those are all valid points you asked to improve Joe. I doubt ZRAW will come to Davinci as BM have their own RAW format and want to sell their cam's prefered.
I don't know, I think that with enough demand it may still happen, especially if the ZCam continues to grow in popularity.
Remember, Blackmagic wants people to switch to Resolve. Not leave it.
I don’t know. Resolve is $300 and they give it away for free with pockets. From a financial perspective I don’t see why they would offer support for a direct competitor. It would make more sense to make a camera size wise as the Komodo and Zcam, and profit much more than on a people switching to their software. I don’t think BMDs profit is in davinci. 10 people with zcam that buy davinci is $3000. 10 people that buy a bmpcc6k is $20,000. Just my humble opinion. Who knows what the future will hold.
@@robertsenese3188 I don't think their profit is Resolve either, I think it's in all of those panels and switchers. But correct, it makes more sense for Blackmagic to sell cameras.
@@robertsenese3188 Very good point.
Great opening footage. Lighting on point obviously, but what was your grading workflow. Did you use a specific LUT as a base grade?
Hello, great video! I have a few questions because I´m so confused about what camera to buy next - mostly leaning to the "cinema" types.
In general I´m confused, because on paper - the E2 F6 seems superior to EVERY OTHER "budget" cinema camera, even the ones that are just coming out.
I mean, FULL FRAME 6K 60FPS right?
Komodo: much smaller sensor, super35 (APS-C) and doesnt go up to 60 fps unless you go down in resolution with a lot of crop.
C70: not full frame and only 4K
S1H: 6K but only 30fps, go higher and resolution goes down hard.
A7SIII: 4k...
FX 6: 4k...
So I have to assume that the reason that the zcam E2 F6 isnt the most hyped thing ever are for the reason you mention in this video, especially in terms of post work.
And it doesn´t have the ridiculous hype as a RED camera WITH "GLOBAL SHUTTER"....
And I honestly dont get people who say they dont need higher resolution than 4K .... higher resolution means more freedom in post to crop/change composition or add stabilization and MUCH more.
Doing that with 4K footage, when you final output video is also 4K, you will have obvious change in quality.
Hope you have some extra thoughts you can share with me here, even though you might be repeating yourself :)
Have a nice day!
I appreciate you watching! I think that with more time, the ZCam E2 series will get more and more popular. I wanted to jump onboard BEFORE it gets popular ;) Did you know that ZCam has a global shutter version of the S6 coming out?
You can control the aperture on the 18-35 right? Really considering this but the 18-35 is to me the perfect all around.
Yes you absolutely can. You have full control over electronic lenses.
1. I'm sure you know that you can assign even the EV to be whatever you want, like aperture.
2. File recovery, using the zcam concatenator app solves it, super easy and fast. It's automatic so just point it to the card and it'll take care of the files for you.
3. ProRes RAW has nothing, absolutely nothing to do with zcam. Blackmagic need to support it themselves :)
1. Yep. Still a pain to have to map custom function buttons for such an important setting. That function button could be used for something else.
2. This video was recorded prior to the firmware update that fixed this issue.,
3. Still doesn’t change the fact that they’ve abandoned development for ZRAW, which was a huge selling point for many buyers. Now it’s basically ProRes RAW or no raw at all. ZRAW is virtually unusable since the ZRAW suite is flat out horrible.
I’m saying this as someone who has been shooting client work on Z Cams for over a year now. It’s a very stressful yet amazing camera that I have a love & hate relationship with.
Nice video. Good work. Would be nice to see a non scientific comparison between the zcam e2s6 vs the Red Komodo to help potential buyers decide. I recently went with the S6 btw and really enjoying this camera coming from a sony and canon world. In fact, I just cancelled my preorder for the sony A7siii as the zcam has exceeded my work style expectations.
Glad to hear you’re enjoying your S6. I’m working on a comparison between the two, just working out the logistics.
@@joenicklo Kool..Excited to see that. Interestingly enough, you don't see any comparisons of the "6k cubes" or "6k shootouts" such as the Komodo, S1h, Kinefinity, BMPCC6k, Zcam, etc. You would think a comparison like this would be ripe for a shootout. 😜
How is the HDMI latency? What’s the monitor you’re using? Looks like there’s a transmitter on it.
HDMI latency is near perfect. I don't notice any lag whatsoever. I use the Atomos Shinobi, for now.
file recovery is implemented in camera currently.
So I’ve heard. At the time of recording this, it was not. Glad it was added.
A larger screen would be high on my list, when is the Z Cam E2 due for a refresh?
from everything I've heard from people with some inside information...the E3 wont be out for at least a year.
Completely agree with everything you said
Woah!!! I would love to see how you colour graded that gym video.
Coming soon!
@@joenicklo I'm looking forward to that! I haven't seen a colour grading tutorial on the Zcam E2 yet
What is Zcam's Global customer support network like ??? Do they have service centers and sales branches ???? Anyone
Soltys Cameras in Ohio is a service center and sales. They do really quick repairs & service. www.soltyscameras.com/
That's the only one I know of without doing a Google Search.
hey, so I tried out grading the footages that you have linked in the description,(again, thank you sooo much for that)and I love the way I can grade the footage without limitation like the s-log-2 and the s-log-3 on the a7iii...I would love to grab a Z-cam E2 S6, but I would need to see what else can come close to being able to grade better without limitations..btw..what were the settings on the Scam S6 when you shot the footage of the young woman pulling the ropes? I was having a bit of an issue grading that, but I think it is more managable than an a7iii footage.
I believe I put the specs of the shot in my review for the E2-S6.
Awesome video! Unscripted seems to work nicely for you. Very natural 👌
Thanks bro. Off the cuff is usually harder to edit but at the same time, yeah it's more natural.
What a champ.
Rocky Balboa level champ?
@@joenicklo After this video. Undisputed
@@ThumpersBass Hell yeah! I'm a sucker for 80's action stars.
awesome video Joe ! another suggestion might be autofocus ? it's kind of a popular feature among new cinema cameras.
Thanks! Believe it or not, it does have AF :) not the best but it has it.
Z cam has a Autofocus module coming, the TOF option is now available in the menu under the focus settings. Looks like your wish will soon be granted.
Doesn't answer your question, but at some point it could be cool to compare the ZCam E2 with the new Panasonic BGH1. :)
Would be cool, but I'd need both cameras sent my way, or at least have the rental fees covered.
I hear you. 😊
Unfortunately, it is on Blackmagic to add ZRaw support and, seeming that they still don't have support for ProRes RAW, I think it'll be a while...
Z Cam has worked with every other NLE they can to add support. I still hope Blackmagic can get that added, but it's out of Z Cam's hands.
Also Baselight and Assimilate Scratch are both industry standards for color grading. Scratch has support for Z Raw and both have support for ProRes RAW.
Avid Media Composer has ZRAW support? ;) I think you meant that ZCam has worked with Premiere and Final Cut Pro, not "every other", but yes I get what you're saying. As far as Baselight and Scratch, I'm unfamiliar with the programs since I've never used them but have heard of them. I don't work on high-end projects but I do know that Resolve is still an industry standard for commercials, short films, TV shows etc.,
@@joenicklo "every other NLE they can"
@@joenicklo but yes I do hope Blackmagic eventually adds support. It would really do a lot to improve the workflow.
@@FTGTapGod Gotcha. "they can".
@@FTGTapGod Agreed. For now, we'll have to just make the best of it. I was very disappointed at the performance of the ZRAW Video Suite. On my system (which is no slouch mind you) playback of 4K ZRAW was impossible. Not sure what the issue was...
I currently use the Z Cam E2-S6 with raveneye and 3D focus with Sirui 1.33 anamorphic lens. I am looking to add a wireless transmitter to my rig... one that I can use the Ronin RS 2, Tilta float, and Hydra Alien with. BUT! I worry about lag time with focus pull using the 3D focus system on my prime lens when HDMI (loop out) from transmitter to Raveneye is used. Plus, I only have the one HDMI out from Z Cam. Not as informed of other choices such as SDI out to Wireless video transmitter and HDMI to Raveneye (Or if using the two at the same time is even possible from the Z Cam. Could you help me with this issue?
Sorry, I can't troubleshoot if I don't own the same products. Honestly though, the Raveneye isn't exactly a reliable wireless transmitter. Look into a Hollyland system.
I wanted to love mine...but sadly, I did not. It's insane to me, that the face of the company, Kinson, tells people to shoot ProRes and not ZRAW, claiming that he saw no benefit in shooting ZRAW over ProRes?! Secondly, you can only trigger an external recorder, while shooting in ProRes raw! If I switch my camera to say 422...I have to hit record on the monitor, which I don't understand why I'd even need the camera? And last, as you pointed out, the range of software to edit and color is limited. I LOVED shooting in ZRAW and exporting proxies to work on...but then what? I can't take the RAW files in to PPRO, because I use MAC and I can't bring them in to Resolve because it's not supported, so I'm stuck with Proxies or 4:2:0 H.265 (which looks great and works great on Resolve) or shooting 422. So I returned mine....maybe in the future, if they get everything ironed out. Funny thing.....I just got my turbomount after the first week I returned it! SMH...
The ZCam lineup does have some quirks, but I'm not ready to write it off just yet. ProRes HQ is no slouch. What camera did you end up getting instead?
@@joenicklo I haven't yet...I was really torn between the BMPCC and the ZCAM, so naturally I am leaning toward BMPCC, but with the Canon C70 coming out, rumors of a C50, Komodo, it's a good time to be in the market. I am really hoping that BMPCC will hop on the cube train, like Panasonic did! I do know that I don't need 6k. It's nice, but I think 4k is plenty. I feel like what you sacrifice for 6k vs 4k (FOV, Frame rates, file size) it's not worth it. Plus, I don't do VFX. I think I will see what Black Friday brings! I'll let you know what I decide.
Zraw is now available on PPro on. Mac with new update just a week ago
@@andreasbulowhansen9413 that's awesome! Good to know. Have you tried it? Does it just work with your proxies?
@@Health-and-Wellness-Now havnt tried it yet, just sharing the info. The plugin for PPro Mac is available here (second item) : www.z-cam.com/lut/
Built-in ND filters would be nice.
They’ve got the eND module. I haven’t used it yet but I heard it’s amazing.
@@joenicklo it's a myth...hahaha...JK. Very hard to get one!
DId you shoot in manual or auto mode ?
Manual. Always manual.
@@joenicklo I just bought the Zcam Ew2 S6 and is wathcing a lot of your videos on it.. BUt how do you focus manually when the subject is moving and at difference distance.... I understand one way is to move with the subject at the same distance ...
@@WuAhGestudioproduction closing the aperture to F5.6 or further to give you a wider in-focus range would also be an option. Or practicing pulling focus manually.
Two main things Z-cam could do is to switch the rolling shutter to a global shutter and beef up the computer inside. But then, they might be called Red Komondo.
Good news, ZCam is releasing an E2-S6G with a Global Shutter soon. Units are already floating around being tested.
I don't understand why zcam tried to create their own raw format. Plenty of opensource formats already exist. If they offered cdng from the start a lot more users would be interested.
Personally I don’t care for cdng because of the much more difficult workflow. But I would like internal pro res raw support because I don’t like recording externally. At the same time though resolve doesn’t support prores raw and I don’t know if they ever will. For me there isn’t a great raw workflow unless I switch to blackmagic cameras or red. I’ve been considering red Komodo over z cam just for the raw support. Even though the price of entry is way higher than zcam. I’m super torn on my camera decision right now.
I’d prefer CDNG over ZRAW.
@@BransenPass Unfortunately, they can't add ProRes RAW internally because of RED's patents...
If I’m recording to an Atomos Ninja V with ProRes - do you also lose the whole file when you lose power with the Z-Cam?
I haven't used the Ninja V with the ZCam yet, unfortunately, I sold my Ninja V long before I bought my S6 however if I recall correctly, the Ninja V has a recovery option built in.
@@joenicklo thanks mate! I just realised there’s no SDI on the Z-Cams which really sucks as I’m quite keen on them they look really good
@@D_L_J_83 Like I mentioned in the video, you can get the SDI converter.
@@joenicklo Yeah I saw that but it changes the whole rigging configuration and becomes this frankenrig when you attach that and than a teradek. The appeal of this type of box camera is the elegance and neatness of rigging and port configuration. I'm sure they'll come out with a camera with SDI soon.
@@D_L_J_83 i sure hope so.
dope video! we recently built out our rig as well, let's see when the parts will arrive during this covid period :)
Nice. What did you go with for the cage system?
@@joenicklo Regular flagship Smallrig system - looking forward to tilta mattebox & v mount + tilta v mount adapter 😎
@@genesisfilms_at You cant go wrong with Smallrig, or even Tilta most of the time. Post your rig on the Discord when you're done.
The deal with da Vinci is that they don’t wanna play zcam and been going on based on $$$ that zcam should pay all the NLE’s
It’s unfortunate
Is the background music a weird version of pretty Ricky my body? 😂
It's via Soundstripe so not sure :D
😂😂😂😂😂😂😂
The E2-M4 is also a flagship
Weird that they dont include it on the FLAGSHIP page of their website.
To bad they didn’t add BRAW like Panasonic did. That would have clinched it for me.
I’ve gotten by without using a raw workflow, it’s not bothering me. I do wish ProRes RAW worked in Resolve.
Interesting thoughts. Looks like the file recovery option is there now, but I'm guessing part of that issue is the file type they are writing as some formats handle power loss well, and others do not.
The ZCam is basically a shrunk down Arri Mini in terms of form factor and ergonomics. I'd be curious to see you look over the mini's features and your complaints here and see how Arri did (or did not) handle them in the mini to mini LF transition. Especially the buttons and button placement.
I am 100% in agreement with you on the SDI, but I think they know that the majority of their market is going to be using HDMI and HDMI based accessories. Moving to SDI increases the cost and weight of everything. BNC cables are harder for small gimbals too.
I disagree with the Aperture button as well. In the current form factor, it would make the current buttons smaller, and as a cine targeted camera, aperture is always controlled at the lens. If this was an ENG or run and gun, I'd agree with you.
Oh, and AVID supports ProRes RAW as well.
Like you, I work in Resolve, at least for RAW processing, and the lack or ZRAW support is keeping me on the fence about this camera. I need to upgrade in the spring, but haven't decided to what yet. The S6 is high on the list, but I may end up with the M4 instead. I hate DSLR format cameras for video and this thing is just about ideal. Kinefinity is still too rare, and while I think RED is OK, their ecosystem is just too pricey for me.
Man, I'd LOVE to test out an ARRI Alexa Mini, if I land a project w/ the budget that warrants renting one I'd do it but I'd need to learn the camera first of course. That's a good call on SDI driving up the cost/weight and accessibility, that is where the converter comes into play. I just hate that it takes up a battery slot. Theres sadly no other way other than another conversion box. I'd gladly pay a little more for the choice of HDMI or SDI.
As for aperture, that's true. I have some cinema lenses but for the lenses that aren't full manual I guess mapping a custom button to aperture control is fine for now. This video was really just me nit-picking. I'll NEVER call a camera "the perfect camera" all out, because there is no "perfect" camera however the ZCam really doesn't have too much for me to gripe over.
@@joenicklo Where are you located? I can get my hands on an LF if there's anything you'd want me to look over or, if you're close, anything you want to look over.
@@FTGTapGod I'm in South Florida.
@@joenicklo damn if you were in the Midwest (where I live) or in LA/SF where I work and will be living shortly I could probably work out a day.
@@FTGTapGod All good brother! Appreciate the offer.
What do you want from a $2500 camera? Maybe you should have bought a Komodo!
Don’t be a knob. The e2 line up goes up to $6000 for the F8.
In fairness some of these things my 1300 BMPCC4K can do, so that makes the point of $2500 camera and expectations an invalid point. Sorry 😬