Alt Shoo

Interesting that there aren’t any individuals experienced with these products on this forum.

I’ve seen a post relating to an affordable wireless follow focus in an unrelated thread and it coincides with my recent goals. I’m looking to finally complete a rig and would like to know if any cinematographer in this group is experienced with either or both of these wireless follow focus systems? Would like to know the pros and cons of each system and if possible why is one preferred over the other. Personally I’m leaning towards the Ikan PD movie because it seems more intuitive, maybe because of the iOS connectivity and looks to be more reliable. The Tilta seems like it would be easier to control more than one aspect of the lens at one time because of the multiple controllers that it ships with. So as of now I’m indecisive. As mentioned, maybe someone with more user experience could chime in.

Yea me too! The reason for this is that I bought the Eva1 with the Atomos Shogun Inferno Kit and an 1tb SSD. I didn’t have any expendable extra cash to buy the required SD cards for the Eva1 and the cards I do own doesn’t support the recommendations for recording in the resolution that I want to record in. Plus the mount I had felt flimsy and didn’t want to risk the monitor falling off of the camera. So in order for me to record with the Eva, I would have to rig it up with the Inferno, which didn’t feel secure and the projects i were doing didn’t require such a setup. With the GYLS300 I can just pick it up with my dual loaded card slots (very long recording time and sloooow battery drain) and capture very lovely looking DCI 4k for hours, without lugging such a cumbersome setup, especially for mostly handheld filming. I would monitor through the GYLS300’s screen (not at all great, but I have a VA 4k specifically for it) using its rather good (Great!) focus assist and exposure features. With the Eva1 and the gear I had for it at the time, I would need to carry at least 6-8 batteries and tripod. I wasn’t ready to commit to that yet. Now I’m ready because I streamlined my power needs and even though I’m still recording with the Atomos, I have a sturdier mounting solution for it! As an aside, regarding my equipment I’m usually a tripod type of person and have tools that are used mostly stationary, but I’ve been doing a lot more handheld work, that’s why I purchased the two E1’s, which are wonderful by the way and use them with Zhiyun Crane M’s, but the monitoring on it sucks, so I also use the VA 4k with it. I haven’t used the E1’s in a while because it doesn’t do 4k externally, only 1080 and I’m trying to keep all of my original files in 4k or higher now. The 4k internal is only 60mb and that’s not really enough for me. For my needs 4K 150mb is acceptable!

@meudig whoa that’s impressive! Was this posted in this forum? Also do you know the filming specs?

I may be mistaken, but I don’t recall any em5ll footage posted mentioning filmed through a BM VA.

It was shot in Zlog at 60 p and I recorded internally but monitored through a BlackMagic Video Assist 4K on a Zhiyun M gimbal. The ZCam E1 has all the components a cinematographer needs (besides IBIS). Actually the BBC used the E1 for three years as an in the vehicle camera for “Top Gear”. Truly impressive! I’ll be using two of the E1’s I own for some other projects, but I’m going to start shooting more with the Eva1. I’ve had it for months and only filmed with it once. I’ve been using the LS300 because it’s just so easy to pick up and go, plus the images I get out of it is one of the best!

No problem! It was shot at 60p and I converted it to 30p. It was just an oversight I was trying to correct.

@mnewxcv @Mattias Burling Here’s a clip of the comedy scene without noise reduction and without sound. 91C27C54-49D6-49E4-BD54-0EFFB4BCFA51.MOV

Yes this is in post with Neat. It can most definitely be reduced.

@Mattias Burling I don’t see the “beauty”, but I guess I can understand what you are alluding to. Yes, if I wanted to it can most definitely be turned down!

@mnewxcv it is a very slight denoise, but it really didn’t need it. I just like that look on my images.

Even though their sensor manufacturing company is defunct, I’d rather them use a more refined version of their AltaSens sensor. Its image is really beautiful!

Here are some screen grabs from a project I worked on using the Z Cam E1. This camera actually has the same sensor as the GH4.

While a good camera, personally I’ll forget the Olympus and go with a more feature rich Z Cam E1. Don’t sleep in that little beast of a tool!

These seem like they are worth it , especially now jvc is doing 10 bit 422 at 4k! Hoping they will bring this option or something better to a new cinema camera or even the Jvc gy-ls300.

Both jvc gyls300 footage More Gyls300 footage

Jvc needs to bring out a new more powerful cinema camera or release a substantial upgrade for the LS300

Footage looks good to me.

The JVC GYLS300 is still very much relevant today! @middster this is really incredible! The JVC Gyls300 is super relevant today! I hope that they continue to update the firmware as well.

I would love to use a 4k and above raw recorder with no screen. For monitoring I’ll use the included monitor or purchase a small hd or something similar.

Eva1 owner here! Truly an amazing cinema camera. It’s definitely in the Varicam range of image quality!

I forget that in the world of cameras there are pixel peepers and in the world of forums, there are word wizards and sentence surveyors. Whoever feels some type of way about my comment is reading way too much into it. Matter of fact I agree with the majority, surprisingly that wasn’t read into, that you don’t need 8 bit, but once again for my needs it just doesn’t cut it. Regarding the Xh1 it’s great that it has DCI 4k!

No disrespect to those who prefer using 8 bit because I have a few 8 bit tools myself, but as an individual with goals to have any future media I create on broadcast networks, I will adhere to their standards. Now for any personal projects or for vlogging, then I’ll consider something within these specifications. “Experts” on YouTube can run their tests, which are cool, but the fact remains these aren’t the requirements for any serious and aspiring professional in this industry. Sure there are the few talented souls that are making a living with modest setups and that’s inspiring, but that’s not the normal thing. These are my opinions based on the facts of the matter. If this offends you, that is your own creation because my intent was not to disrespect or belittle anyone. I came to express a thought that is based on facts about 8 bits vs 10 bits. Regarding the Fuji XH1 it’ll be an awesome tool for stills, however regardless of their advances for video, this camera just won’t cut it ‘for me’.

The same reason why creators and broadcasters prefer 10 bit is the reason why I won’t purchase this and yes I’m genuinely interested with this camera. This “shit posting” is an opinion of mine that I’m expressing. The camera is impressive but that’s my perspective of things.

The xh1 is the first time I’ve ever considered buying a Fuji, but because it’s only 8bit I won’t get it. Everything for video is pretty awesome, especially the Eterna film simulation, however that 8 bit codec is just not persuasive.