Alt Shoo

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!

@IronFilm im sorry, i dont mean to be negative, i was painting all night thinking about art lol
i guess i feel like the money was spent in these videos on all the nuts and bolts aspects of the production in each case, things like THE CAMERA, the way it moves, lighting, etc., which makes perfect sense, dont get me wrong~!
but conceptually, the three are quite similar, and i guesss i dont think that the increased budget made the clips better
so i was thinking about that, from a nonconceptual standpoint, looking at the production in technical terms, why is that?
and i think its because: ive become so desensitized to watching "amateurish" smartphone videos, presented as being professional, that it has become the new normal
edit: yes ofc i see the difference in production quality, im saying its not reflected in overall quality. all three ads suck. if i paid $1000 for the first ad id honestly be like WTF... is this a joke? thats why i said that!
its AWFUL. *NOTHING* is good about it... nothing!!!! it stinks on paper: its poorly written, poorly conceived, unoriginal and boring. the acting is awful, that guy sucks, hes not funny... i mean what the hell ? there are THOUSANDS of 6 SECOND VINE VIDEOS that are borderline amazing with a budget of $0
sorry to be such a hard ass (i admit it lol), and i understand the point about production being scaled in various ways due to budget!
a great exercise, i think, would be to commission something like this, with the SAME SCRIPT, something that presents some production challenges on the page, then produce the films on wildly different budgets. the low budget film would be forced to be super creative in that regard, while the high budget film would have awesome tools which make the impossible possible, or at least way easier
im just thinking out loud! hands up dont shoot! ?

Also the predecessor has a new update!!! Awesome that they are still updating!! 
 

Give it a price reduction in the near future and will become very relevant to us. (or at least some of us)

Thus it is worthwhile keeping an eye on its progress!
If you know anything about software development you know then you can spend an almost infinite amount of timing fixing bugs on complex projects.

Thus I'm glad to see Z Cam still supporting their older products. 
 

Also the predecessor has a new update!!! Awesome that they are still updating!! 
 

Also the predecessor has a new update!!! Awesome that they are still updating!! 
 

https://www.newsshooter.com/2018/10/17/pdmovie-live-air-lightweight-wireless-follow-focus/

If you're operating this solo, then bluetooth shouldn't matter to you at all. But if you're a professional 1st AC then this sounds like a big downside. 

Think about it, that is 30 meters under I assume ideal conditions. Which practically speaking means you might often be down to say 10 meters or less? You'll find yourself being screwed multiple times a year (imagine if it is a steadicam tracking shot, around a corner or from a follow car, or many many other circumstances)  You might need to find yourself running along side the camera instead, trying to get a peek at the monitor as you move. 

 
Another downside is it is seems to be only for 15mm rails, again not a negative if you're an owner operator. But if you're working as a 1st AC instead, no compatibility with 19mm studio rails is a big downside. 
 
So it seems if you're focused (ha!) on AC work then the Tilta Nucleus-M makes more sense instead.

I think the PD you’re talking about is different from the one I’m interested in. 

So I just spoke to the guys over at Tilta, and they told me that the Motors reset to 50% on bootup. After checking my motors this is indeed the case. They advised me that the engineers are aware of the problem and will address it in the next firmware update. Also, after retesting with the lowered setting I believe it is Ok to use with most lenses. Keep in mind, if you are only going by the reading on the fiz unit you may think the motors are set to the lower setting. However, this may not be the case. You need to check the setting on the actual motor... for now anyway.

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!

Avaliable for preorder!
 
https://www.bhphotovideo.com/c/product/1438685-REG/tilta_wlc_t04_nucleus_nano_wireless_lens_control.html

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!

Let's agree to disagree.
I do. All the time. Its part of my job. But I rather not use a smartphone.

This is not 2008 anymore. 4K is 4K, I don't care what the hell it is shot on. The average person doesn't even know what the hell DR even is. 3/4 the people on here acts like Netflix is going to pick them up. Good luck with that happening. Shoot something, anything with anything and be happy.  You have in your pants pocket 90% of what you ever need camera wise. Made it so. Jesus like a bunch of little kids on here. OHH I'm going to buy this, no I am going to buy that. Ohh I will wait until next year when the Panasonic FF comes out, Yeah right. They haven't made a camera in the last 6 years you can't make a feature movie with, including a Smartphone. Make it so. You can buy Cine cameras you could only dream of for less money now than most of there new Mirrorless stuff is. Make it so. This whole forum is turned into a QVC shopping channel.  Shoot something, Christ.

I can see in-camera gimbals making a revolution at some point. Sod camcorders

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. 

@kye
 
In relation to @thebrothersthree comment about the title of this thread, I replied with this: 
As you can see, in context, I used the word 'many' in "many seem to agree". Also, "is this the way things are going" is also a fairly general term. How did you take this so personally? If you did, I have no qualms in apologising so, I'm sorry if you felt personally attacked. 
My question was, are people who expect 'cinematic' images really too lazy to focus a camera or use some kind of support because these contribute to the 'cinematic' look just as much as IQ (and lighting). 
 
 
 
I mean the point of this thread is not to critique any individual shot and tell you how you could have achieved similar without IBIS. If you do want personal critique, PM me and I'll happily give you some other ideas if you so wish.
Exactly, there will be a lot of users here that come to this site for information on purchasing a camera who might be new to the whole game. Your advice that a particular camera is 'useless' because it doesn't have AF or IBIS gives false information in two ways. It suggests that you can't shoot good images unless you have both those features and it suggests that those two features will ensure that all your footage comes out rock solid and sharp.
I'm here to provide some context in that if you want to really use a cinema camera (or even mirrorless camera) well, and get great shots out of it, be prepared to use a monopod/ tripod or similar and be prepared to learn how to focus manually if you really want to further your skills. While AF is great, it can hunt around if it can't decide what to focus on and no one wants to see AF hunt in a 'cinematic' video. 

Calm down Kye I wasn't calling you lazy if that is what has made you aggressive. I was talking in a general term.
You could have shot that shot differently, who knows, it could have turned out better, or worse. I could list a few different ways you could have got that shot or something very similar without IBIS but that's not the point of the thread. Sometimes limitations cause us to think more creatively.
  Was this a slider shot? It doesn't look like it....but if it was and you pulled it off smoothly, well done.
What I wall say is that while no features on your list is essential to everyone, there are some that are a lot harder to workaround if you don't have them. Ive never had a director or producer say that my camera had to have IBIS or AF, whereas I have had them request we shoot 4K, or 50p or that it had to be a 10bit codec. If your camera can't do it, it's hard to work around that. No not everyone works professionally or on demanding productions, but then Im not the one making black and white statements that a camera is unusable if it doesn't have IBIS or AF.  
Im not here to pick on individual shots, yes IBIS and AF can be useful. I just don't think that a camera without them is unusable and the notion that it is kinda perplexes me hence the thread. Let's not forget that you can add stabilisation via a lens too. Just because it's not in the body, doesn't mean its a bad camera. X-T3, GH5's will still shoot great images and be used successfully by many. 
My FS700 had face detection too. I agree, it's nice to have if implemented well but no DP using a cine camera (as you are referring too) is going to say that an Alexa, Red, F5, Varicam etc are "useless"

Try enabling CineLikeD on the flight deck!

@Alt Shoo Luckily you can read all about it here. It's been posted in some em5ii discussions before.
 
 

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!

That video is the first on my playlist dedicated just to foley videos! Check out my whole playlist:
 
 
https://www.youtube.com/playlist?list=PLoGsUEnlZzUIFJ523qScw8DTzX0xh-yz8
 
It is one of the tougher areas in production sound to make a full time living from. 
But yes, would be fun to do! Would be one of my idle dreams as well to have. 
 

The 1080/60p is really detailed. I noticed that in my test. Upscaling it to 4K works very well.