sanveer

"This is an unpaid opportunity, however all travel and accommodation expenses will be covered, including food and excursions. In exchange you will document the entire trip on behalf of She Went Wild and our partners and create a 10 - 15 minute short film. It will document the dramatic scenery of the region, the personal trials and tribulations of the women involved and the core values of both WOAM & SWW; women supporting women. You will require your own 'professional grade equipment' and be physically fit." They don't need a filmmaker, they need a chaperone for old women who are on a holiday where they cannot walk (I won't be surprised if none of the old beneficiaries are there, and Only members of this shady NGO for adventurous women are brought). Basically this charity is using the platform to get people to work for free, whereas it will pocket all the money it makes under the guise of charitable work. Nice little scam it has going there. Get your RED and shoot some old hags (who mostly won't be the real veterans they promise to be), and you also be fit enough to also double as a mule at 15000 feet, using your body as a rope and pulley, moving these women and the NGO members across treacherous landscape. Luckily they didn't advertise for Bruce Lee or Chuck Norris to make love to them.

Hahaha. It's apparently ... 50x Faster, 20x Cheaper ?

I heard this news from a source a little while ago, but was not sure whether to believe it because I was not sure of durability issues. Now I can safely say that wrt to quality and durability, it should not be an issue and hopefully Blackmagic doesn't have me killed or sue me. I believe that the delays with Blackmagic's original pocket camera were a manufacturing nightmare attributed to their contract work. Also, Cost is a Huge Factor for the Body, and while Blackmagic is basically pushing the software of the Ursa with tweaks on the BMPCC 4k, and working around the new Sony Sensor, they wanted to cut costs as far as possible. So they are now (according to what I believe to be true), doing 3D Manufacturing for their BMPCC 4k on carbon composite (actually continuous carbon fibre printing). They are basically doing it all in-house. The manufacturing process may be speedened up Big time, and manufacturing costs should also come down substantially. The only problem, if any, is that they apparently haven't done this before. So they may have initial testing issues and a special department for in-house manufacturing with the necessary know-how that may take a little time to be completely ready. Strength and durability is apparently not an issue, because Aeroplane manufacturers also use some of the printers for manufacturing components in-house (which are stronger than aviation grade aluminium). If this is true, I hope all manufacturers make their products in-house if they can pass on the cost benefits to the customer (instead of selling 5 year old sensors and disappointing tech in re-branded camera bodies). Another Important Update. I wrote to Z Cam asking them about the E2, namely whether it has Dual ISO or have they not bother implementing it; the limited recording options, and whether Z Cam could do a blackmagic and allow for recording by way of SSDs via the USB-C, to get good LOG profiles, and to get partners on board for having things like electronic variable NDs. These are their replies. I find them all very promising (except the ambigious reply on whether they have implemented the Dual ISO, unless it means Dual ISO AND 13.5, which would be Insane). "Sanveer, 1) It is a dual native ISO Sony CMOS sensor. 2) There are multiple recording options including what you are asking for. 3) We will provide customisable LUTs. 4) Working with several accessory partner now." btw the turnaround seems Pretty fast. I did not notice they had replied and this is like 3 days old (I was probably searching the wrong name). The Z Cam E2 is looking to be one seriously kickass camera.

For the simple reason that they have to protect their higher end camera offerings. That is also why Both the BMPCC 4k and the GH5s Do Not have 4k at 120fps (despite the sensor being capable of it).

Wow. You've nailed it.

Both. Everything in hardware has implementation in software. And vice versa. Even Sony Entry-level ILCs like the A6300 ans A6500 have dual native ISOs and that is why their low light is pretty usually upto ISO320 or ISO6400.

How? It's strange and sad how they're cutting corners.

But it's a strange situation. It's almost like having 13 or 12.75 Stops at ISO 400 and ISO 3200, or, 13.5 Stops at ISO 100. The low light would be hit big time. I won't be surprised if it may then be unusable at ISO 1600.

I seem to have discovered a series of bad news. To make it less severe I will disburse it in Installments. 1. The Z Cam E2 doesn't seem to have implemented the Dual Native ISO on their camera. I am sure it requires some custom circuiry or wiring with regard to the design, and Z Cam didn't think it was worth the effort or the sensor was too much effort for a small startup such as theirs and they circumvented the entire effort of implementing it with dual ISO. I am guessing, as a result the low light may suffer (greatly). There is a likelihood, that the Native ISO is ISO 100 and curiously at that ISO it seems to have/ they claim it has a dynamic range of 13.5 Stops. I could obviously be wrong, so we will have to wait for confirmation from Z Cam.

I didn't realise how important it may be then. But, approximate release dates helps prospective buys allocate money for purchases and also to plan a few future projects accordingly (especially ones that take a while to make and also perhaps need higher end work).

While it's great to have hybrid cameras, I guess it is just too much strain on individuals to multi-task on projects. Also, while the Sonys have great photo capabilities, their codecs for video have limitations especially because they want to maintain their high end cameras. A lot of people manage with then just fine, but 10-bit 4-2-2 could have been a very good addition, especially for post work, and more professional setups. IMHO anything with 12-bit RAW of 12MP is sufficient for photography for film stills (continuity and posters). If it has a good app for monitoring, it would actually be a good camera. The price would be good, regardless of the lack of monitor or viewfinder, mics, limited storage options (only CFast) etc etc. I do hope though, that they throw in some freebies to make the deal sweeter (like somw huge discounts on Atomos monitors or maybe a 5 inch monitoring tablet free) and introduce some a few flavour of RAW.

I couldn't agree more. They could do a DJI, wherein they suddenly capture a market that already has many players, but nobody offers the features that they do, especially at the price point.

Looks very good. Out of curiosity, did you think of adding some grain? It already looks very impressive as it is, the grain may just add a little bit more. My two cents.

The Z Cam E2 offers the following resolution and framerate options: 4096x2160 @120fps/60fps/50fps/ 30fps/25fps/24fps 3840x2160 @120fps/60fps/50fps/ 30fps/25fps/24fps 1920x1080 @240fps/120fps/60fps/ 50fps/30pfs/25fps/24fps I am not sure why Blackmagic isn't offering higher frame rates for 4k higher than 60p. I am guessing it is to protect their URSA and other cameras? Which may the case with Panasonic too? If the Z Cam E2 drops their prices slightly, and collaborate with someone for supply chain and after sales, they could actually pull off a mini coup. Also, for some curious reason the Z Cam executive Specifically stated the dynamic range as 13.5 stops. It's like they seem to have implemented something unique to them.

Actually it does seem to suggest having AF (even if it's as bad as the one on the GH5 and GH5s), and the Bluetooth is for monitoring. If it does monitoring well enough, one may not miss the articulating screen (and maybe use a phablet or tablet for monitoring instead). Bluetooth is far lower energy than WiFi, though the question is how well can it be used to actually control the camera. I guess more questions will keep getting answered as the actual product starts hitting shelves.

I am repeating myself and re-interatinf what someone said in the forum already. Blackmagic probably made great losses on the Ursa and other cameras. They were not prepared for losses in the Professional Filmmaking and Broadcast cameras. And they realised that their most successful product till date was probably the BMPCC. They also realised that 3D printing can produce materials as solid as steel or cement, and/or, found a Chinese manufacturer who knows the secret recipe for all the composites in the Boing 787 planes (like someone else mentioned here), which is way more durable than aviation grade aluminium. So they decided to create a camera that may literally put many other manufacturers out of business. If in the meanwhile they think of charging another $199 and unlocking 10-bit 120fps at 4k, and 4-2-2 10-bit H.265, that would cause a gang war with Arri, Panny, Sony and RED hiring people to just bump off Grant. Btw the acquisition of eyeon Software and Fairlight (both hardqare and software) has made the Blackmagic Suite even better. It is actually a replacement for a lot more than just colour and grade. It is good that the monopoly of the industry leaders is ending.

Hahaha. I thought he didn't mention prices. Btw he sold them as lenses that outresolve Everything Ever Made. Like 16k resolution. So in some ways he may want them on more than just filmmaking cameras (Hasselblads?) Actually I skipped some portions of the interview, cause he spoke so slowly, like some election speech. And I had already downed a few, so my patience was thin. Maybe I watch the interview again.

I can sniff a used car salesman from a mile away. I sniff one right now. Thank you but no thank you.

Saw the interview. The guy is really seems like a visionary. He is not in a hurry to make a few millions, and therefore the lenses won't cost an arm and a leg.

I don't think you're wrong. I believe the BMPCC sold like crazy. If they didn't have those 6 months or so of delays, the would have thousands more. The BMPCC 4k is apparently the most heavily pre-ordered camera on B&H right now. If it delivers what it promises, I think it will capture a Huge Portion of the Professional and Prosumer market. I also think that the price is reasonable because Blackmagic hopes to sell then in record numbers. Like maybe a few times of the original BMPCC (I am guessing they are targeting about 10 times as much or more).

I don't know what you're, but I would to try some. I spoke about HDR in the recording format, which is spot on. There is HDR and there is HDR as HLG which is broadcast ready in recording (among many other standards), meaning instead of pushing a Log profile like Vlog with 11.5 stops, HLG only retains Either the Highlights OR the Shadows, effectively reducing the dynamic range while recording to 10 stops or so. For TV Broadcast there is HDR of 2 type. The first is pushing a curiously wide dynamic range within the actual ones available within the Rec79 standard, playable on TVs which Are Not HDR certified. The dynamic range seems wider than is presently available, but you don't need an HDR tv to see content of that type. The 2nd type is the one that various consortiums headed by companies for having broadcast standard for TV brightness dynamic range a colour bitrates. There is HDR10, Dolby Vision and HLG, and this is what you are referring to. They are broadcast standards for delivery.

I believe you'r right. The air is not circulated around the sensor. I vaguely remember hearing it in one of the many interviews too. Lemme try and search for that one.

Danke @cantsin I also think this curious motion of taking in and taking out air through a fan and open vents is its archilles heel (and which is common to the Z1 Cam E2 as well).

Here: He explains the ventilation concept at 5:30 onwards.

Thank you. There were a few links. Is it the Cinema 5D one? Let me try and find that German YouTube channel too.