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    Apparently the new ZCam E2 F6 is using the same sensor as the Panasonic S1H. But will also be a bit more expensive.
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    Quote Originally Posted by jbregar View Post
    Iíll be honest, I bought it mostly because I needed 120fps slow mo for a specific project and the client paid for it almost entirely on that one job. Philip Bloomís slow mo video was what pushed me over the edge.

    Iíll agree thereís not a ton of great footage out there... which made me wary, but after owning it for several months, itís a valuable addition to my kit.

    I was interested in the larger sensors too, but none of them offer anywhere near the HFR capability of the m43 cam. My E2 has a near permanently mounted SpeedBooster XL on it, so it actually looks bigger than S35 but not quite as big as FF. I think the effective crop is around 1.2X.

    Since buying it, itís been pretty handy as a high quality mounted cam, on the Ronin S, etc.... in addition to having something that can shoot over 60fps in 4K.
    Thanks for your experience, that makes sense. If you shoot something that you think looks amazing with it, please post it.
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    Quote Originally Posted by James0b57 View Post
    Very good to know.

    The zcams are already great bang for buck. Seemed to struggle in lower lighting conditions without a fast lens. So, it ends up feeling like a camera that shines more in an intentional production than a slinging around. perhaps why i prefer the bmp4K at the end of the day. Zcam isn’t going anywhere. I talked with the boss briefly. They have already been in business a long time, and their recent cine line has seemed to take the value segment by the gongjidan.
    The Z-Cam is definitely more on the "sensor in a box" side of the equation than the BMPCC4K. All these people rigging them up with side handles and such for handheld shooting I feel are kinda missing the point, but whatever floats the boat.

    The m43 E2's low light straight out of camera is a little grainy, but I find it cleans up really well with Neat Video, so I haven't been overly handicapped by that. The image when exposed correctly is really pleasing to me and mixes quite well with a C200 A-cam with only minor color pushing.

    In the end, I was looking to pick up a third camera (first two are C200 and 5D Mark IV) that was video-centered and the Z-Cam's 120fps 4K won me over. I tried the Fuji X-T3, but the stills AF really frustrated me and it meant another lens mount, so I returned it. I played with a BMPCC4K extensively (a friend has one and loaned it to me for about a month)... it's a great little camera and I toyed with the idea of returning the Z-Cam for the BMPCC6K, but in the end the Z-Cam fills a niche in my kit that I don't have well-covered (small camera, good high frame rate), so I kept the Z-Cam.

    I also do a few live events every year and I'm experimenting with the Z-Cam's network-based video streaming and control. I can actually just pull the Z-Cam feed into OBS over the network, it'll be even better when Z-Cam finally releases their NDI bridge for Mac. Coupled with a nice servo zoom and the Super16 mode, that might make it worth picking up a second for those shoots. We'll see.

    I had a decently-long chat with Kinson (CEO of Z-Cam) at NAB last year. They seem very very open to suggestions. I'm looking forward to seeing them again in 2020, they're a good group of people who seem to legitimately want to put out killer bang-for-the-buck cameras.
    Last edited by jbregar; 11-26-2019 at 08:03 AM.
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    Quote Originally Posted by jbregar View Post
    The Z-Cam is definitely more on the "sensor in a box" side of the equation than the BMPCC4K. All these people rigging them up with side handles and such for handheld shooting I feel are kinda missing the point, but whatever floats the boat.

    The m43 E2's low light straight out of camera is a little grainy, but I find it cleans up really well with Neat Video, so I haven't been overly handicapped by that. The image when exposed correctly is really pleasing to me and mixes quite well with a C200 A-cam with only minor color pushing.

    In the end, I was looking to pick up a third camera (first two are C200 and 5D Mark IV) that was video-centered and the Z-Cam's 120fps 4K won me over. I tried the Fuji X-T3, but the stills AF really frustrated me and it meant another lens mount, so I returned it. I played with a BMPCC4K extensively (a friend has one and loaned it to me for about a month)... it's a great little camera and I toyed with the idea of returning the Z-Cam for the BMPCC6K, but in the end the Z-Cam fills a niche in my kit that I don't have well-covered (small camera, good high frame rate), so I kept the Z-Cam.

    I also do a few live events every year and I'm experimenting with the Z-Cam's network-based video streaming and control. I can actually just pull the Z-Cam feed into OBS over the network, it'll be even better when Z-Cam finally releases their NDI bridge for Mac. Coupled with a nice servo zoom and the Super16 mode, that might make it worth picking up a second for those shoots. We'll see.

    I had a decently-long chat with Kinson (CEO of Z-Cam) at NAB last year. They seem very very open to suggestions. I'm looking forward to seeing them again in 2020, they're a good group of people who seem to legitimately want to put out killer bang-for-the-buck cameras.
    Thanks for the feedback and good to hear that it can be matched with the C200 fairly easily. I know what you are saying, I really like the XT-3, I just edited a new corporate reel with an interview shot with the C200 as A cam and the XT-3 as B cam on the motion control slider and I ended up using the XT-3 shot simply because of the movement. The two weren't miles off in color but the XT-3 has more sharpness, detail and more saturated colors than the CRL even when I push the CRL a long way. I'm not a good colorist and dream of the day when one or more of the editing programs can use Ai and just do color matching without the pain we go through now. It's shouldn't be that difficult for computing power to match color.
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    I know... it seems like color matching (at least to a decent baseline) should be relatively simply AI-wise, but I know "Color Match" in Final Cut Pro X never works right for me at all and the resulting grades end up looking further apart than they started.
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    Quote Originally Posted by puredrifting View Post
    Thanks for the feedback and good to hear that it can be matched with the C200 fairly easily. I know what you are saying, I really like the XT-3, I just edited a new corporate reel with an interview shot with the C200 as A cam and the XT-3 as B cam on the motion control slider and I ended up using the XT-3 shot simply because of the movement. The two weren't miles off in color but the XT-3 has more sharpness, detail and more saturated colors than the CRL even when I push the CRL a long way. I'm not a good colorist and dream of the day when one or more of the editing programs can use Ai and just do color matching without the pain we go through now. It's shouldn't be that difficult for computing power to match color.
    How do you sharpen CRL for not having enough?

    There is instant colour matching in Premiere via reference frame.

    Btw, which instance do you guys prefere? A, B or C? Please write why.



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    Maybe take the saturation of the last image and marry it with the middle image.


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    Quote Originally Posted by Bassman2003 View Post
    Maybe take the saturation of the last image and marry it with the middle image.
    So, you don't mind 'Canon green' hues? Look at the bushes.


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    I do not think the hue is changing. The different contrast level is affecting the look. As the blacks crush the bush loses some of the lighter tones. As far minding the hues, I have no perspective if the bushes look that way in real life or not. I do see the signature yellow/reddish looking in the bushes but if you do not like the color, bend it or set it up in the camera to be different.


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    So, to sort of get it back to the thread title.

    BCN is a Japanese industry site that tracks the Japanese photo-video sales. Apparently, over there, full frame (both mirrorless and the DSLR) comprises only 10% of units sold and Sony now is the leader in full frame (but they're all tanking).


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