Alt Shoo

Thanks! I really thought I was not going to capture any decent footage. The young man was just too fast. Lol. 
Considering that I also fly a Panasonic Eva1 and a few other cameras, I just always seem to grab the Gyls300! I enjoy using it because it’s simple to use. Some of the things that make me grab it before the others is the battery life and the codec, which allows me to use humble SD cards.
These cards don’t have to be the fastest, yet I’m allowed to shoot DCI 4k! I also enjoy the VSM (variable scan mapping) feature, which essentially turns my primes into zooms, with no loss of quality. 
One of the features that I never worried about , but is now a de facto necessity for whatever camera I ever consider getting and that is the built in ND filter!
For this shoot I opted to film in HD 60p instead of the internal slow mo, to limit the crop and the loss of a stop. 
As I mentioned earlier I also own various cameras and the only reason I bought the Panasonic Eva1 is because it reminds me of the JVC, but with a more robust codec, which I intend to utilize only because the medium for which I’m releasing the project on requires it. If not for that fact, I would be using the Gyls300 all day!  Thanks again!

The default setting for MFT lenses is 85% of the sensor so it zooms in by 15% to match the coverage.
However, you can override that because with a number of lenses you can actually get to 95-97% so your FOV with a wide angle lens is actually a bit wider than it would be on an MFT camera.
The flip side is that you could also set it to say 75% if you have an MFT lens that has less than stellar performance at the edges.
 

Yes I’m super aware that the Gyls300 has broadcast ready codecs, but the distribution network I’m using for the project I’m working on, requires certain requisites. 
The similarities of these cameras are of course the form factor, built in ND’s, manual buttons for camera settings, ease of use, very usable mic pre’s, image quality, crappy monitor lol and good battery life!
The differences are the codecs, lens mounts, VSM only on the Gyls300 and the type of storage for internal 4k DCI. For the Panasonic you need a very fast SD card to gain that option. 
The MFT offers full coverage of the super 35 sensor and is the perfect mount to attach almost any type of lenses! If need be, you can also easily attach a microscope to it! Then use the VSM feature to adjust the image to prevent vignetting! 
 
 

Yes I’m super aware that the Gyls300 has broadcast ready codecs, but the distribution network I’m using for the project I’m working on, requires certain requisites. 
The similarities of these cameras are of course the form factor, built in ND’s, manual buttons for camera settings, ease of use, very usable mic pre’s, image quality, crappy monitor lol and good battery life!
The differences are the codecs, lens mounts, VSM only on the Gyls300 and the type of storage for internal 4k DCI. For the Panasonic you need a very fast SD card to gain that option. 
The MFT offers full coverage of the super 35 sensor and is the perfect mount to attach almost any type of lenses! If need be, you can also easily attach a microscope to it! Then use the VSM feature to adjust the image to prevent vignetting! 
 
 

Thanks! I really thought I was not going to capture any decent footage. The young man was just too fast. Lol. 
Considering that I also fly a Panasonic Eva1 and a few other cameras, I just always seem to grab the Gyls300! I enjoy using it because it’s simple to use. Some of the things that make me grab it before the others is the battery life and the codec, which allows me to use humble SD cards.
These cards don’t have to be the fastest, yet I’m allowed to shoot DCI 4k! I also enjoy the VSM (variable scan mapping) feature, which essentially turns my primes into zooms, with no loss of quality. 
One of the features that I never worried about , but is now a de facto necessity for whatever camera I ever consider getting and that is the built in ND filter!
For this shoot I opted to film in HD 60p instead of the internal slow mo, to limit the crop and the loss of a stop. 
As I mentioned earlier I also own various cameras and the only reason I bought the Panasonic Eva1 is because it reminds me of the JVC, but with a more robust codec, which I intend to utilize only because the medium for which I’m releasing the project on requires it. If not for that fact, I would be using the Gyls300 all day!  Thanks again!

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots. 

Yes I’m super aware that the Gyls300 has broadcast ready codecs, but the distribution network I’m using for the project I’m working on, requires certain requisites. 
The similarities of these cameras are of course the form factor, built in ND’s, manual buttons for camera settings, ease of use, very usable mic pre’s, image quality, crappy monitor lol and good battery life!
The differences are the codecs, lens mounts, VSM only on the Gyls300 and the type of storage for internal 4k DCI. For the Panasonic you need a very fast SD card to gain that option. 
The MFT offers full coverage of the super 35 sensor and is the perfect mount to attach almost any type of lenses! If need be, you can also easily attach a microscope to it! Then use the VSM feature to adjust the image to prevent vignetting! 
 
 

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots. 

Thanks! I really thought I was not going to capture any decent footage. The young man was just too fast. Lol. 
Considering that I also fly a Panasonic Eva1 and a few other cameras, I just always seem to grab the Gyls300! I enjoy using it because it’s simple to use. Some of the things that make me grab it before the others is the battery life and the codec, which allows me to use humble SD cards.
These cards don’t have to be the fastest, yet I’m allowed to shoot DCI 4k! I also enjoy the VSM (variable scan mapping) feature, which essentially turns my primes into zooms, with no loss of quality. 
One of the features that I never worried about , but is now a de facto necessity for whatever camera I ever consider getting and that is the built in ND filter!
For this shoot I opted to film in HD 60p instead of the internal slow mo, to limit the crop and the loss of a stop. 
As I mentioned earlier I also own various cameras and the only reason I bought the Panasonic Eva1 is because it reminds me of the JVC, but with a more robust codec, which I intend to utilize only because the medium for which I’m releasing the project on requires it. If not for that fact, I would be using the Gyls300 all day!  Thanks again!

nice work, @Alt Shoo~! video looks good, not familiar with the camera tho... would you mind underscoring a few of its finer points, why you use it, etc...?
im super ignorant about options in cameras with that form factor!

I liked the video. Definitely a very practical camera to own. 

Can't believe you've missed the subliminal advertising a few of us routinely do for it in a lot threads
Headlines are
Super35 sensor
MFT Mount
Built in ND
4K
4K60p to external recorder
Twin card slots
XLR on removeable handle so can be compact
Variable Scale Mapping which lets you use any lens coverage type (Super 16,MFT,APS-C) and it automatically scales it to full screen.
Prime Zoom function (operated from the rocker switch) which lets you zoom with a prime lens as though it was a zoom.
Live internet streaming.
Remote control with live view from a web browser so can be used from any phone, tablet or computer without an app.
Hardware switches for white balance memories etc.
Long battery life.
Abysmal, truly horrible, atrocious EVF
Decent run through here :
https://youtu.be/IEhW4lQdFps

The video looks great! Your edit?
I would love to see a photo of how that lens looks on that body.

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots. 

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots. 

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots. 

Although this year we have a fellow Greek in the Oscars, for me they are dead since the LALA land disaster.
If you witnessed this mega cringe where they had the whole cast on stage thinking they had won and then they took them all down...i dont want to watch the oscars again.
The second problem is the PO overdrive, where they put films like "WE WUZ KANGS" aka Black panther contesting for best pictures, and all the PO bs where people get nominated because "me too" or because they are minority.

Hmm, that could have been shot on just about anything out today. Not impressed. At least not with That video. But if you are into FF video, using a Cine body, it is for sure the cheapest way to do it. But the output looks nice, but nearly all the newer stuff looks good with skill now.
It is not going to be long before the days of 50,000 dollar Arri's are a thing of the past. The gap is closing at a alarming rate if you are the one building the high end stuff. The cost to put any of these new mirrorless cameras in a Cine style box can't be 1000 bucks more to do. Most all of them have a big ass heat sink and a fan in them, and 1 1/2" of it is the electronics, and 1" for the sensor. Look at the new Sony Venice with the detachable front to it.

@Mark Romero 2 - here are my thoughts for shooting architecture / interiors, etc. with the A6500/NX1 (!).  My claims base on own experience with some famous (and extremely picky about detail and resolution)  architecture's offices and luxury real estate dealers, possessed by by "Gigapixel mania". These guys seem to have invented the pixel peeping...
I own and use the A6500 and the NX1. As you know, these two cameras are exceptional in 4K when talking detail and sharpness - much "sharper" than even much more expensive dedicated video/production cameras. But...there is a price to pay for this sharpness - and the "micro-jitter" or "stroboscope effect" is one of the disadvantages.
Sometimes, when shooting 4K even on tripod and panning with A6500/NX1 and stopping down the lens to f5.6-f11 for a maximum of sharpness and resolution, you will encounter the stroboscoping (jitter) effect.
Let's take a look a the different use cases:
1. Panning
When panning, try to pan smoothly, personally I pan with these two cameras a 90 degree angle in 12+ seconds - not faster. I do it this way when shooting with gibmal, but also when using the cameras on tripod
2. Using a motorized gimbal
Today's gimbals are phantastic. But still, even people who claim to be "very experienced" do often a superficial balancing and calibration. Spend a lot of time on precise balance and (micro) calibration of your gimbal, you will see a huge difference when done right.
As you might know, the Zhiyun or Moza DO NOT counterbalance vertical shake. Therefore, please put a piece of mousepad (cut in the shape you need) between camera and gimbal plate. My piece of mousepad is about 2mm thick and it helps a lot avoiding jitter - because it seems to be quite efficient when buffering vertical shake (when runnung, stepping, or running stairs)
3. Practice running with gimbal
You might say now, this is a trivial advice. It's not! Most guys believe they do it the right way. They don't. Two months ago I payed 600,- EUR for an 10 hours seminar / course with a gimbal and steadyshot pro. It was great, because there I learned I was a nob. It could take even years to some users to learn to use a gimbal / staedypod properly.
You have to move and walk like a ninja, to use your hands and arms independently from your body, etc. it's not as easy as it might sound.
4. Frame rate / Shutter speed
This is essential. You are based in a NTSC country. As you shoot interiors / property, you don't need to shoot 24fps.
Shoot 30fps. As seen in your video, you usually use 3-6 seconds takes for your video. When shooting 30fps in NTSC, you can even slow this a little bit down in post, by putting your shot in a little bit faster timeline than initially shot....
So, when you shoot 30fps, try to keep shutter speed at 1/50. This will make each frame more "blurry" then when shooting at 1/60 - and will diminish the "stroboscoping effect" / jitter substantially.
Put a ND filter on your lenses, don't try to reduce the amount of light by increasing your shutter speed. Increasing the shutter speed and panning will accentuate the stroboscoping effect.
5. Use OSS / IBIS if possible...but test the same takes WITHOUT...there are some cases, when micro jitter disappears with IBIS off...Just test...
6. You have to rethink the term "interior video"
When you shoot interior, (mostly) nothing will move. So, why do you shoot video? Shoot stills!
Let me give you some example out of your video: The takes 0:20s-0:25s / 0:25s-->0:28s / 0:51s-->0:58s / 1:19-->1:24, etc. WHY do you shoot video? Why? Shoot stills and create the pan / zoom in effect IN POST...
Shoot on a tripod. Shoot 3+ exposures (depending on contrast and DR expectations) for each take and RAW at base ISO (100 for the A6500). When shooting like this, you could get a unbelievable amount of DR and great colors within 5 minutes. Blend your shots and apply luminosity masks in post, if necessary...You will get a DR you could never get within the baked in h264 when filming...
Now...Your 10-18mm Sony lens is great...But it's a 15mm on the crop A6500. You have a FOV of 76 degrees vertically, this should be more than sufficient....You have a horizontal angle of view with this lens at 99 degrees. IF you need a wider angle (=more FOV) - my picky customers refuse to accept wider angles (FOV) than about 120 degress, because they find it "unnatural" - take more photos by panning and stiching in post. When talking 120 degrees field of view, we talk about 3 horizontal takes. BUT: use a panoramic tripod head (here in German from 130 - 190 EUROS) for this, you have to get the proper nodal point before stiching...If needed, shoot vertically, but you need more takes to stich in post...There is plenty of cheap or almost free stiching software out there.
Then import your post processed photo (after sing RAW post pro, blending, stitching) in your NLE and create the pan / zoom effect in a spectacular resolution and DR....NOONE will know, it's not film...
BTW: Shooting f11 with the 10-18mm on the A6500 is NOT useful, as for most APSC cameras, f11 is where difraction starts to kick in (in stills quite visible). At this wide angle (10-18mm), f8 should be enough to get maximum of sharpness and resolution.
Have fun!

Some nice footage here, colours look seriously impressive!
 
Shot at iso:10240...
 
 
 

I think I want one. 

It’s funny the amount of contradictory remarks on this forum. I remember reading more than a few times that users are pleased that companies update their older products, even while new products are in the market. Yet it’s laughable by those sharing that same sentiment because of a fix that took a while to complete. 
I respect companies, big or small, that can provide continuous support for their users. It shows a level of commitment that creates brand loyalty and quality interactions, which brings better products to the market. These E1’s have been the most incredible supplementary cinema cameras in my tool box and I’m stoked that Z-Cam users still get the support for it!

It’s funny the amount of contradictory remarks on this forum. I remember reading more than a few times that users are pleased that companies update their older products, even while new products are in the market. Yet it’s laughable by those sharing that same sentiment because of a fix that took a while to complete. 
I respect companies, big or small, that can provide continuous support for their users. It shows a level of commitment that creates brand loyalty and quality interactions, which brings better products to the market. These E1’s have been the most incredible supplementary cinema cameras in my tool box and I’m stoked that Z-Cam users still get the support for it!

Both perpectives stand. I also appreciate our Greek fellow's criticism. Constructive criticism should always be welcome : -)

I agree, it's not good that they still have bugs, but it is excellent that they continue to release updates.
I see Z Cam as the polar opposite of a company like Canon: if you want maintenance-free reliability and instant integration into existing workflows, look to the traditional products like Canon's C line. If you want bleeding edge, not-tried-and-true technology that you can experiment with, and provide meaningful feedback on to guide the development of the next generation of products, that's where Z Cam fits in. It's similar to the difference between Linux and Apple. It's entirely possible to have a great experience, reliably using Linux to do real-world work, but you do have to do your own research, and accept more responsibility as an end-user to debug things on your own.
And the truth of that situation is that Z Cam will likely never have the market sway that Canon et. al. do, and will never have the resources or vast QA teams to match the big players. But the benefit of the small team is you can have a more personal experience--I mean, you can't just hop on Facebook and provide personal input to the Canon CEO on what features they should include.