sanveer

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.

Share your source.

Some of us seem to have lost the plot. And the discussion seems to be all over the place. HDR for photos is not the same as HDR for video. In photos they combine multiple exposures (from 2 photos upto 9), and have a single photo with the colour, dynamic range, and other information into a single image. Some smartphone do it actually pretty well, compromising only on very fine detail. But they are 4-2-0 8-bit JPEGs. Another issue is that smartphone users want their photos to pop. So their colours are a bit exaggerated, thereby destroying scope for post work. HDR in video, on the other hand, may or may not combine multiple exposures, but it keeps colours as bland or washed out as possible. The Entire purpose of HDR in video is to prepare video for post work, retaining as much dynamic range and information as possible, in a photo that is Not a RAW photo. The codec could range from 8-bit 4-2-0 to 10-bit 4-2-2, and the bitrates could also vary within a very large range. Another interesting thing that Jon has already mentioned is that Rec709, the television standard (and the standard for most monitor that didn' cost a small fortune, until about 10 years back), contained 7 stops and under only for viewing. New HDR standards like HLG too have about 10 stops at most, whether they are for recording or for viewing on HDR ready TVs and monitors. I have sat on a few feature film edits, but I didn't quite figure how many stops the high end monitor are actually capable of displaying. About the GH5: It is a Superb camera, especially for the price. The only thing it lacks IMHO is the low light capabilities of the newer GH5s Sony Sensor. Though it does have a 20MP photo advantage, along with a 6k Anamorphic Mode and that great IBIS. Let's stick to the topic. btw, I saw a German video of the BMPCC 4k and the employee said something very strange. He said that the camera has vents for air intake at the top, and the air exits from the bottom portion of the camera. I found it hilarious if its true. I wonder if people are actually able to notice this gush of hot air blowing on their hands, while shooting.

Thanks

You could be right about monitoring it via a Tablet or Smartphone. But what about a handle? How does even hold it? Also I don't even see a hot shoe or cold shoe mount to attach things to it. I also checked it again from Every Direction Possible. It seems to have a set of fans on the top and bottom (it has open vents). I guess that must be why it can be so tiny without getting terribly hot. Also, it has these open 1/4" everywhere to directly mount things on it, thus getting rid of using a rig for maybe some functions.

Because they want to sell a lot of accessories to make it even usable, thereby adding another $1000-1500 to the $1999 price tag. Which I think is Highway Robbery. Starting from a Top Handle or Rig to even hold the camera. The only thing I suspect, is that in terms of hardware capabilities alone, the E2 seens to have a lot more processing power than the BMPCC4k and GH5s. Though with that tiny body, I would not be surprised if it has Sony-like heating issues and double as a toaster or induction cooker. They claimed 12 stops with Vlog (13 stops is for RAW stills). It may actually have about 11.5 stops or so, which is respectable to be fair. Especially since it is not shooting in RAW. And the codec is pretty pushable in post.

This review is filled with strange errors from sensor size, to ports to everything else. The author was in a hurry to make a comparison and did not bother to actually check all the details. Which is unfortunate, because I have watched some of his videos and also read some of his posts, and I quite like what I saw and read. I only posted a screenshot of the Conclusions Table. I could have pointed out errors in many places, but I didn't want to write a thesis on it. Too much effort and would have been too boring. Also, I must point out, that Blackmagic for some curious reason has advertised the height of the sensor as being less (much like how Panasonic was being secretive about the Exact Specs of the sensor on the GH5s). Most likely the kinnefinity 4k also sports the same sensor with the same dual ISO and sub 35mm sensor being the hint.

Yes. This 2nd generation product does 10-bit in H.264 and H.265 for now with a hint for RAW capabilities in the future. The GH5 has a much higher 20MP resolution sensor and average low light. Plus that IBIS is a boon or a curse depending on whether you like to destroy cars and cameras, or you prefer using them as instructed.

Actually these 3 cameras share the Same Sensor, and thus the excellent low light and dual native ISO. Also, they are thus all limited to 10.7MP in the 4/3 mode as max resolution. In effect they aren't hybrids but cinema cameras with 10-bit and above codecs.

In one of those BMPCC 4k launch interviews, he called it Rubbish, in a finer selection of words.