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Well let's face it, everybody likes to save money no matter your income. So when the Sony shills on YouTube are out there spinning the ZV-E1 is an A7S3/FX3 for almost half the price, eyebrows get raised. What's the catch? Well its quite simple, Sony stripped the camera to its bare bones and it overheats during long takes as result. And the shit show commences. Overheating is a controversial subject. Most people I think feel a camera past a certain price point shouldn't have such limitations. Sony did put a lot of effort into making sure this camera is identified as a VLog camera. It's not in the A7 series its ZV. And I guess that for its intended use, the camera performs to satisfaction. So why the fuss? Because price aside, there are a few cool things about the ZV-E1. It has features neither the A7S3 or the FX3 have thanks to the AI processor. The AF is really impressive, it has breathing comp etc. Also the touchscreen supports gestures etc. The camera just feels snappy and the AF doesn't skip a beat no matter what you throw at it. So in a few ways, the ZV-E1 kinda feels like an updated A7S3/FX3. And that's rather alluring, especially in the US at its price point. But that's when reality hits and you must realise its a vlog/travel C-cam intended for short takes. If that's your method of shooting, well you're in luck. If not, its probably going to be a hard pass. Its as simple as that.

Absolutely! If we all only did what the manufacturer suggested we do then you might as well erase half of the footage online, across all streaming services and content hosting sites. Some notable mentions (that make using a ZV-E1 for film-making look completely normal) include: Using GoPros in major feature films, like the $66M Need For Speed - https://www.filmmakersacademy.com/gopro-hero3/ Filming feature films entirely using a smartphone, like Tangerine - https://en.wikipedia.org/wiki/Tangerine_(film) Using the Magic Lantern firmware on Canon cameras etc etc In fact, using DSLRs to record professional video at all was not intended by the manufacturers. Had we followed their guidance we wouldn't have had the entire DSLR revolution, this blog, and an entirely new chapter of indy film-making which includes indy features but also all the forms of video social media around. Ironically, had we only followed the manufacturers guidance, the ZV-E1 probably wouldn't exist. So when @markr041 talks about how the ZV-E1 should only be used for travel and vlogging, it goes against the entire idea that created the camera, both travel film-making and vlogging genres, and also the existence and purpose of this whole site.

The 28-60 has no OSS. The 24-70 has OSS, so in principle, if they coordinate, there should be more stability with IBIS. I use Active Stabilization for static shots, reserving dynamic stabilization for moving with the camera. I have not tried that (yet) with the Zeiss/Sony lens.

The ZV E1, paired with a good lens, like the Zeiss 24-70 f4, does really provide a nice image. And that sticky tracking focus assisted by AI really works and is needed here (the dancer moving and turning, for example). Here is Hare Krisha at Washington Square Park. Oh, and the audio quality of the camera is above the usual.

In my opinion, camera companies should be giving their $2,000+ uncompressed internal RAW recording in a simple manner. The Canon 5D II can do this but the $2000 Panasonic S5 II cannot.

I dont think anyone in this thread is talking about creative use of the zv e1, except the guy who posts actual videos from it, whatever their worth. Putting a zv e1 on a tripod, pressing the record button, and leaving the camera on is not a "creative" use of the camera. Get it? It is a use for sure. So would using the camera as a hammer. Whatever you like. I reacted to the continued posts about overheating. Each camera has a best use and a worst use. I emphasized the best use. You can guess what I think is the worst. But if that's what people want to do, just great! Go for it.

Does Dynamic Active Stabilization works on the 24-70 F4? I heard it doesn't work on 3rd party lens, but I m not sure about older Sony lens. Your video there is really stable, I think more stable than 28-60mm?

One thing that is essentially invisible on these forums is relative cost of these devices. When I joined a bunch of Facebook groups related to MFT and GH5 etc a few years ago I realised a few very interesting things: There were pros shooting music videos on MFT cameras like the GX85 and G9 - fully booked working professionals There were people who didn't know anything technical at all doing real paid work... posts like "I've just bought a GH4 and a vintage 50mm lens, my first real camera setup. I've got 8 paid gigs scheduled starting in 5 days time - what does the mode knob do? and is 50mm a good lens to use?" There were people who were incredibly excited to get (what we would dismiss as being) old has-been cameras.. I saw many posts of people saying that they'd saved up enough money to buy a GH4 or GH5 as it was "their dream camera". These were often people in poorer countries / areas. Adding to this other factors such as: There are countries that still broadcast in SD, or 720p People do work for community media channels (which have no money) People do work for not-for-profits (which have less than no money) What this means is that working with cameras that are sub-optimal or lower budget is very much a consideration and reality for many or even most people out there. When you add to the situation that to shoot events with a multi-cam setup you have to spread your budget across multiple cameras, all this becomes amplified and there are people literally sleeping on the floor of their friends and family to be able to buy equipment. So, to you and me this $2K camera might seem like a "low-end" option, and for more "serious" work people should spend double or more for a better model, this is to many a completely ridiculous price for a camera (maybe more than a years salary) and so if this is a way to get into FF Sony then why not add fans and all manner of jerry-rigging to it. All of the above applies even more-so to people trying to film their first (or tenth) feature film, or filming documentaries (where long takes are required for interviews etc). The more I get exposed to the wider world, the more I realise that my home videos are often shot, edited, graded and delivered better than a lot of stuff that appears on commercial TV. So, is this camera the right choice for such works? Probably not. Will some people try to use it for these things by adding fans and all manner of other things? Absolutely. But let's ignore that and just assume that no-one would ever try to do anything that this camera isn't capable of doing. Should we just discuss cameras in a non-critical way? Should we just thank the manufacturers for giving us whatever half-crippled products they decide will keep their bottom line as rosy as possible? No. We should push against the manufacturers at all times to do better. We should explore the options provided by the manufacturers from whatever angles we think of, so that not only will the less wealthy lurkers who read the forums but don't post have ideas about what is and isn't possible with each camera but also so that the manufacturers can see what improvements make sense in the context of each model. Panasonic was greatly admired over the time when it released the GH1-GH5 line because.... *drum roll please* .... they improved each model from the last by basically doing what people requested. The reviews had consistent themes of "in our review of the last model we made a wish list and this new model ticks all those boxes".

To return to the original question, perhaps the most important element in all this is the ability of the operator to understand the variables and aesthetic implications of all of the above layers, to understand their budget, the available options on the market, and to apply their budget to ensure the products they use are optimal to achieve the intellectual and emotional response that the operator wishes to induce in the viewer.

This is great news although may cost me more money if it works the same on the upcoming S5ii firmware upgrade. Wasn’t interested in ProRes RAW but I love working in Resolve and Braw seems to offer a nice simple workflow with all the benefits of RAW on certain projects when needed. Look forward to more of your observations