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Z-cam looks to be here to stay. There were rumors of shortages of the processor Z-cam uses, but their entire product line is in stock at BH Photo except for the original E2. Z-cam also looks to be introducing a competitor to the Red Komodo with the release of the Z CAM E2-S6G Super 35mm 6K Cinema Camera (Global Shutter) due in April. So, with what appears to be a stable company and expanding product line, it is worth taking a second look at the E2-M4 now that Z-cam has now released firmware 0.98.0 that enables Pro Res recording at all frame rates on the E2-M4. This includes 4k @ 120fps, 4K 2.4:1 @ 160fps & 1080p @ 240fps in Pro Res, so you don't have the overhead of decoding H265. A natural comparison is to the Blackmagic Pocket 4k, which has a few advantages: 1. 12bit BRAW 2. LCD Screen 3. SD Card Recording 4. $200 cheaper 5. AC to DC power supply included 6. About 1/2 lbs lighter Some of the E2-M4 advantages are: 1. 4k @ 120p and 4k 2.4:1 @ 160fps slow-motion recorded to Pro Res internally as well as un-cropped 1080p @ 240p for super-slow motion but it does line skip. 2a. Wireless video monitoring to iPhone or iPad (or both at the same time) with only 100ms delay, which better than many less expensive wireless HDMI solutions when you add the HDMI latency of the camera HDMI out. 2b. You can also plug in your iPhone into the USB C port via a cable and it will take the place of the wireless link and charge your phone at the same time as well as ensure a reliable connection. 2c. The app functions much like a real monitor with 1080p resolution, peaking, scopes etc as well as does camera control. 3. 5-pin Limo to dual balanced mic pre inputs with phantom power (adapter cable required) 4. Interchangeable lens mounts including a optional locking M4/3 mount as well as an EF or PL that can take their variable electronic ND (the M4/3 and M4/3 locking can not take the vari-ND) There is a mount with a built in speed booster. 5. Box camera so it is a better shape to balance on a gimbal. 6a. Different sensor than the Blackmagic Pocket 4k that does not have the magenta shift at when under exposing 6b. This sensor is significantly taller than the Pocket 4k sensor so it is much better for shooting anamorphic. 6c. The combination of difference sensor and Z-Cam color science and color profiles provide a different look and some will prefer it to the Blackmagic 4K. 7. Expanded ISO limits depending on your shooting mode up to 102,400 vs 25,600 of the Blackmagic Pocket 4k. 8. HDMI output can output up to 4k depending on the shooting mode. 9a. Large, more powerful, longer lasting battery options using the Sony L-Series. 9b. Power output from the camera to power a monitor. 10. Can shoot ProRes RAW via recording to the Ninja V. (not really an advantage if you use Resolve due to BRAW support) 11. Live streaming via Ethernet port. As they in Spinal Tap: these go to 11. For an extra $200, it is worth considering the Z-cam E2-M4, especially if you are a Final Cut Pro user, if you own an Ninja V, or if you own a Ronin S. Here's part 1 or a great 3 part review of the E2-M4 by Adam Wilt: https://www.provideocoalition.com/review-z-cam-e2-m4-mft-cine-camera-part-1/ Thanks! Mark

They call it a A FILM CREW in your POCKET! A fun device for sure... Computational videography/filmmaking is out there (E :- )

Got a brand new GX80 with kit lens for $199 last year as a clearance sale, so yes it's possible if you are lucky!

There is always '4k photo' mode on the GX800, which allows PASM modes - 30p only though, and I think all 4k is limited to 5 minutes max per clip.

The GH5s sensor is 13mm high and 2760 pixels is the max recorded value high. The Pocket 4K is 10mm high and 2160 pixels is the max recorded value high. The E2 / E2-4M is 13mm high and 2772 pixels is the max recorded value high. The Terra 4K is probably the same a the GH5s from what I gather, but I did not find a specifications with the information. So comparing the stated heights of the sensor the odd sensor out is the Pocket 4K. I suspect that part of the reason I like the look of the E2-M4 over the Pocket 4K is the performance of the sensor. Thanks! Mark

The Z-cam can only do RAW up to 30fps though. Its doable as SSD recording is fairly affordable. But yeah I agree, compressed RAW is a game changer.

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅

Because file sizes are ridiculous. Sigma FP does this, and a 64gb SD card gets you 5 minutes at 4k24p... Imagine trying to shoot 4k120p. Really, they should get internal ProRes raw, or Braw. That'd put an end to it.

I'm currently investigating bird movements within local environments and feel the need for a 360° camera for my bird-logging efforts and to help educate myself on how better to understand species motivations and choices as they move through the local landscape, I can't tell you how many times I wish I had eyes behind my head while out in the field! So, I'll likely start with the GoPro Max as it seems to offer the best combo of IQ and audio quality (AQ?) in the market at this moment. Beyond that, I'm eagerly awaiting the impending S1 v.2 Firmware, and I've been debating with myself (for way-too-long) on the choice between a BP4029 M/S mic (I love M/S recording!) or the more-sensitive BP4025 X/Y mic.

The original E2 being out of stock is to be expected! Has been discontinued, the even cheaper Z Cam E2-M4 has "replaced" it. Soooo close to reaching Firmware v1.0! Ha (wonder when that will finally happen??) E Mount is another option that they've got. (but also doesn't have eND with an E Mount ) Arguably didn't the GH5S / P4K / E2 / E2-M4 / Terra4K all share the same common origin as their underlying sensor they're derived/based upon? RED's patent lawyer trolls are the problem here....

They've corrected all of the stability issues that could be problematic from what I have seen. I owned a Z-cam S6 briefly. My only issue with it was the Latency was sometimes noticeable with an external monitor. The lack of an easy to edit internal RAW codec was the other bummer. They are essentially taking the Sony sensors and squeezing all the features they can out of them. If they can come up with a better "RAW" codec I think they'll truly be formidable.

What they're doing is very interesting. I've yet to use one myself, though I've heard it's a bit rough around the edges when it comes to OS and some reliability. I think they need to streamline their naming convention and have more than just a Facebook group for promotion and support. That stuff is a bit confusing / makes the overall system unwelcoming given the attitude many people in their group have to anyone that doesn't praise absolutely everything about the cameras. I see people getting talked down to regularly when just asking genuine support questions.

Whatever. It's a $6000 camera. That is Leica and medium format territory. I expect better than a Sony clone for this price. Sure, use the technology available - I am fine with that - but at least be different. For this much money you can get the GFX 100S. Unique selling points: medium format, 100 megapixels, Fuji colour science, very good codec. Or you could get a Leica SL2-S. Beautifully engineered and designed. Or you can just get the Sony A1. Smaller than the Z9 and it actually exists. Why wait 8 months to a year for the same thing in a different shaped body? You keep banging on about me being biased or inconsistent. So don't expect me to be polite in return. There is no bias in pointing out the fact the Sigma Fp has internal RAW recording for $2k from a full frame sensor, as well as being one of the smallest full frame cameras to ever exist, and that there's nothing else like it available on the market for the price. Equally there's no inconsistency in saying the Z9 isn't that unique, doesn't stand out on the market, and comes out a year later than the nearest competitor from Sony, with a vertical grip you can't remove and looks / ergonomics which look more consumer than pro. Just some factual info for you. But then, when did stating facts get me anywhere...

I saw that, pretty cool indeed. This one is also a great technical challenge to fly a cine whoop up there.... the fun part is the turn on the top and downhill...

This is where the hi res mode in Lumix cameras is your friend and one of the reasons I went S5. 4k 50p. Check. It’s APSC crop though? Great...for me, my preferred focal range is between 50-100mm FF so ideal. 24mp stills which are more than enough for social/event work. Check, I don’t need or want 50mp+. What about a hike into the mountains or a commercial shoot where I want/need a hi res shot for ultimate detail? Flick of a switch (and a tripod) and there is a 96mp raw file pretty much on par with the medium format Fuji. But the MF Fuji can’t do 24mp stills or 4K 50p so as a pony, does less tricks. I’m in the compact, do as much as possible, in one single as cost-effective package as possible camp. I know I risk sounding like a Panny fanboy, but I’m commending the tool not the brand. I’ve said it before and will say it again and that is IMO, pound for pound, other than the less than stellar AF for video tracking, this little beast is hard to beat at anything.

But what's your point? Does anything that you've just posted somehow invalidate the idea that films generally reflect the cultures of their times? Does posting a poster of a movie set in the far future (then) with a female president, then a comedy about the problems caused by proscriptive gender roles - at the end of which the female president resigns when she gets pregnant - in any way counter an argument that all films are inherently political in that they either promote or condemn accepted cultural and political norms? Or are you just doing that thing that climate-change deniers, anti-vaxxers, 911-truthers et al do, where they find one tiny portion of someone's argument that they can (kinda, sorta) 'disprove' as a way of discrediting that argument without having to expend the mental energy to actually engage with it and argue it on its merits? Better to stick to microphones.

Well yeah, that really shows that I'm wrong when I say that films reflect the social mores of the societies that make them. Doesn't trade on sexist or heteronormative tropes in the slightest!

looks great. i am contemplating the 24-70 2.8 or the 28-70 - how is the 28-70 with no IS or did you use it on a gimbal here?

Totally agree! I'm already set for 2021 and beyond. I traded in my GH5S for an R5. The crop mode in the R5 is a hidden sleeper feature for those that care. Feels like a S35 GH5 w/ amazing AF without anamorphic and a few other bells and whistles. Oversampled 4.8K (in DCI) or 5.1K (in UHD) 4K up-to 60p. I'm more than happy with it. I have had zero issues with overheating after the latest firmware update and with taking the time to turn the camera off when I didn't immediately need it (reposition, brainstorming, etc...). The countdown timer is annoying and anxiety-inducing but I've just learned to ignore it. My M1 MBP arrived today as well. It cuts and edits footage from R5 wonderfully with no transcoding or proxies and with FULL playback quality in the viewer, even with Rec.709 LUT applied. I don't think I would have gotten an R5 if it wasn't for the new M1 Macs to be honest and I would still recommend a C70 to anyone that just doesn't want to fuss with the overheating potential. Wishing everybody a more productive and healthy 2021!

That's 80Mbps, which is nothing. At 80Mbps the extra detail in 8K footage from 4K or even 2K would probably be more than half just noise and compression artefacts. Potatojet did some good videos comparing 8K smartphone video with normal resolution video and the 8K image out of these things would still look like complete sh*t even if it was downscaled to 2K. Watch the YT at 1080 or 720p and you can still tell the difference. TLDR; don't bother. It's like a 65MP jpeg image compressed to 24Kb, lots of pixels but they're all crap. I did some tests yesterday on the GH5 modes and got pleasant surprise. Obviously one of the great features of the GH5 is that the image is downsampled from the 5.2K sensor, but I confirmed that the 2X digital crop is also downsampled, the 1080p 60p mode is nicely downsampled, and the 1080p 60p 2X digital crop mode is also downsampled! No Canon Cripple Hammer going on there! Also, the better I get at grading the more that I find that the limitation of the camera is me, and so when people criticise, they're just criticising their own limitations and trying to buy their way out. This was a quick test shot for highlight rolloff - graded in under 2 minutes so not perfect, but every time I look at the footage I forget about newer cameras..

Couldn't agree more. AF is the only thing I feel like I'm missing out on but the Panny trio I have is more than capable for everything I need. I don't see how getting new cameras would improve things much at all.

In my opinion, here is what GoPro needs to make next year to truly stand out and offer a worthwhile upgrade: - GoPro X. Bigger sensor than the 9 and 4K120p along with 10 bits recording. - Gopro Max 2. Dual 8K30P sensor that gives a 4K image when you use it in Hero mode. It's like having a normal GoPro in every direction, no need to frame. And a mode that gives 2.7K60P when in hero mode (unlike FHD today). Same sensor size as today to make all that possible.

Yep, the 5D2's are so cheap these days, I can get 3 at around $400-550 locally. I got mine for $500. But honestly, I believe the 5D3 is worth every penny if you are going to be a dedicated ML User, or want the most reliable RAW recording. Get yourself some Nikkor lenses and enjoy pushing those colours around...😎👍 I love my A7rii 4K to bits, but prefer the look and colours of my EOS M or 5D2 with ML Raw more.

Hello everyone,, I know that anamorphic lenses warp the image, which would mean that you can't play a take back to see how it looked. How would you shoot this way? Do you basically just shoot like you're shooting it on film (by making sure that the scene looks as good as possible, but getting the coverage needed, just in case)? Or, how can/should you shoot on anamorphic?