newfoundmass

Can you kind of explain the set up a little more? Is it all acoustic with no speakers at all? 
I think the H1, using it's stereo mics, alone could produce decent results as long as it's close to both. Or use the VideoMicro with the H1. Get it within 2 feet of the guitarist on a stand and I think it'd be decent enough. If it's windy put a dead cat on it. You obviously won't get studio sounding audio but it won't be awful. Otherwise I'd get a small diaphragm condenser mic if you're willing to spend a little extra, though unlike my suggestion for vocals I don't have a specific suggestion on what mic to get. 
For vocals I'd get a Shure SM58-LC. It's about $30 US above your $70 price range but it's a very good mic for the price. I'd put it on a mic stand and have the vocalist just sing it that way. 

At $249 on B&H the E1 in 2018 is actually a bit of a steal if you need a really small 4K camera, as like you said the firmware updates greatly improved the camera. When looking at it in that price range, the muddy image and not great color become less of an issue. I know at least one vlogger recently started using it as a webcam. 
 

I mean, in the second post of this thread you referred to it selling by the truck load and proceeded to be dismissive of my skepticism and all feature requests people have made in a thread about what features we, as potential customers, want. Then, when engaged in actual discussion you ignored comments, criticism, and concerns, defaulting back to talk of the specs, etc. All the while I've been cordial and appreciative of your enthusiasm for the camera (multiple times no less), only for you to resort to name calling and accusing ME of being a troll? 
OK. 

But that's the thing: they can do all of that while maintaining a small form factor. Really, how much larger would the camera have to be if instead of 3.5mm it had mini XLR, etc.? Again, to arbitrarily handicap it to offer lower quality connections / features because it absolutely has to be this tiny brain just seems silly even if they offer modules, etc. 
But their most significant release was, in fact, the E1. I get being excited, and I appreciate they're even trying, but again, you seem to be giving them the benefit of the doubt and are dismissive of virtually all criticisms of the camera, criticisms that I think are pretty valid. 
That, by your own words, people have the wrong idea about what the camera is / is trying to be again shows how hard of a sell this all is, because Z-Cam has done a pretty poor job at explaining that. Going to their website, none of this is explained. It just has specs and a price. And the specs are great, but they mean very little if they don't deliver in other ways. 
Again, I appreciate your excitement, but going into a thread titled "What we want in the ZCam E2" and explaining away valid thoughts and wants if kinda silly. What then are we supposed to talk about in this thread?

There's a much bigger audience online, but, as you're probably learning quickly, people aren't always as nice!
So the first question is who your audience is. (Online? Festival? Broad? Niche?) The second question is what your goal is with that audience. (Are you doing spec work to get hired to direct at somewhere like Buzzfeed? Trying to build a following for your own unique brand online? Trying to find like-minded creatives to work with or for? Trying to get a technical/craft job or exclusively writer/director?)
The bigger your audience, the more you'll have to stoop to the lowest common denominator. Look at YouTube stars like Pewdiepie and Jake Paul; that's the image of a successful online filmmaker. If your work doesn't resemble that, maybe don't go that route. If you want to direct spec ads, imitate ads and apply to production companies. If you want to direct at Buzzfeed, imitate Buzzfeed videos and apply at Buzzfeed. If you want to go to film school, submit according to the application process. 
But the more niche your voice/its potential audience, the harder it will be to find the audience and the harder it will be to monetize. But also, the more creative freedom you'll have, and hopefully the longer your brand will persist. (There are a few niche web series I love. They don't seem to make much money, but one of them has been around ten years now.)
But even finding your audience is sort of irrelevant unless you're great at marketing.
A family friend used to sell roles in his high school movies to finance them. I think he's now running one of the largest YouTube empires and is making seven figures. Ditto a friend of mine used to sell DVDs and now he runs a very successful corporate video production company. They changed audiences, but their strong sales skills remained. Ultimately it's the same marketing and promotional skills that worked in person that later worked online, and it's more the marketing than the filmmaking that gets you in the door, and then the filmmaking talent that sustains the success. I don't know if I have any talent with video, I hope I do! But I know I don't have much with marketing, or at least I'm uncomfortable with it due to low self-esteem. :/ And frankly not really liking a lot of online content these days or even a lot of theatrical films as much as I used to.
So I won't even be attempting what they did, but my audience is different anyway. We all have different audiences, or maybe we have many audiences for our different projects. I might be doing spec work rather than making a YouTube channel, or I might be applying to festivals... or even getting a PA or low-level job at a company that makes my favorite work just to meet the right people there. Or I had another idea that maybe someone might watch on YouTube. But a letter never goes anywhere if you don't know who to mail it to. If you just want to be internet famous, be a sociopath on YouTube. If you're inspired by a director you really love, reach out to him or her. If you feel you appreciate his or her work better than others, try to work for him or her. Be stubborn about it. Track your heroes down. Find their email. Ask every month to be a PA on a set of theirs. Travel to where they live for an interview. Then hand them that DVD (or script, or Vimeo link) in person. That's your audience of one. This actually works. Regardless of specific tactic (it all depends what you want personally), know your audience and what they want. Your audience might be one person. If you're doing a fan film it might be Marvel fans. If you're doing a camera vlog it might be camera fans. If it's something new... risky, but go for it. Plenty of different approaches depending on your audience. But know them. And know yourself.
Even the festival scene, which is somewhere in the middle of those two options, is all about marketing. I have friends who've gotten into nearly all the top ten festivals and the trick is they're part of that social network and they really really push hard with their applications, even hiring people to promote their films. The other trick is that once you get into a top ten festival, other festivals will ask to program you. The whole festival scene is a bit of a farce, but the farce is simply the disconnect between how they market and what the truth is. Big festivals need content to match their brand, so they're fairly conservative. Even if your brand is "edgy" you have to stay on brand, so it's a conservative approach to edgy. Small festivals need films that played big festivals, so they're even more conservative! (But knowing programmers personally–the DVD route, so the speak, matters here. And I was surprised to learn that a short at a major festival attracts more attention from a talent agency than a Vimeo staff pick and by far.)
The other really sneaky thing is that a lot of the most successful Vimeo videos are actually made with assistance from larger production companies or agencies or post houses, but are marketed as very guerrilla. This isn't always the case, some stories are true, but don't believe everything you read online. (Certainly don't believe me. If I knew what I were saying, I would be working now–not posting this!) But internet platforms aren't all they promise to be; that promise is just the marketing by YouTube and Vimeo to get you to produce content for them so that they can monetize it. The success stories of online filmmakers are their marketing. And they're very good at marketing. And you're their audience. So if you haven't had a lot of success online, maybe try a different route? 
The one thing NOT to believe is that if your work is creative and unique and great others will discover that and flock to you. I saw one of your videos and you have a good voice and should keep doing what you're doing, or exploring what you want to do next, whether it's more of the same or something new. Probably the most original voice I've seen on this forum, but this forum seems mostly to be about image quality and specs. I've seen more creative voices at Slamdance and SXSW and Sundance and Rooftop, for instance. (No offense, perhaps they're just more developed. and I have friends who pay the bills doing corporate and then make really wild and awesome festival films–so you can be interested in both markets for sure.) 
But the idea that people online will immediately recognize what you have to offer and leap to make more of it is a very myopic view. Look at Spielberg's first spec film, it's not a personal story. It's more an example of visual talent and competency. His creative voice developed after he got in the door directing TV. I think Eraserhead is the only example I can think of of a really outsider voice nailing its first landing. People see Jake Paul succeed and assume everyone should see their work and judge it better because of what an asshole Jake Paul is, but that's not how it works. Jake Paul is a genius at what he does. What he does is just act like a high school bully. The Kardashians are geniuses at what they do. But what they do is appeal to lowest common denominator, which is also the biggest audience there is. Don't judge them based on their audience; find a different one.
I'm on time out here for posting incorrect technical information, which I again apologize for. And I feel like I'll probably get some pushback for a lot of the above being factually incorrect; I expect a lot of it is, and I wouldn't take my advice if I were you, since I'm just an anonymous guy online. So take it with a grain of salt. But I do think knowing your audience, knowing how to market your work to them, and knowing how to meet them halfway is crucial. The first thing film schools do is to "normalize" your voice. They look for creative voices then tone them down and improve production value so those voices are tolerable to the other students and faculty and then eventually to festivals. (Although a lot of film schools aren't worth the money, so if you aren't rich, consider that they're also marketing their wares to you and want you to think they're gonna do things for you that maybe they can't. Some are good. But be wary and make sure you apply to the right ones if you do, and you definitely don't have to.) All media are social media, so look at your relationship with your audience as a relationship with a person (or cohort...), whether you make it a real personal relationship (selling DVDs, pursuing your favorite director or production company) or a virtual one. I think maybe this forum isn't the right audience for you (or for me) if we're trying to get into festivals, for instance. If I knew more technical stuff, it might be better for me. Different values. For instance, I have a lot of friends who've gotten into top ten festivals recently with 1080p/2k films, but here I keep getting reminded I need 4k. Both can be true, just for different audiences. (To be fair, some of those were shot at higher resolutions and delivered at 2k DCP... I ate my words once and I'll keep chewing.)
But the festival route is really hard and really slow. (Like filmmaking used to be!) And online feedback is really fast and comes with instant gratification. I don't know if the festival route is right for me, I don't know if anything is, if I even have the talent, or if I do, if there's an audience for it. But I think the replies you're receiving in this thread speak to a disconnect between what you're making and your audience's expectations. (Not to be rude.) So I'd give that some thought. Removed from your current outlets, what are your goals as a filmmaker? Who are your favorite filmmakers? If you could make anything and show it to one person what would it be and who would you show it to?
That's the trick. You're marketing yourself to get into a festival/get YouTube famous/work for your favorite director or at your favorite company. But they're also marketing toward you so you watch their content and believe in their brands. And marketing isn't about the audience or the creator exclusively, it's where the two meet. Know yourself. Know your audience. Meet halfway. 
But also take everything online (including this) with a grain of salt. Online relationships are rarely worth as much as those in person.
 

Cool man ?.

Two media slots? I can't even find one! But I agree an SSD slot or an extension that supports it would be nice. 
A mini XLR would be a great addition as well as a relatively uncompressed codec.
The price seems high only because the new pocket 4K is priced so low...
 

just use your NLE. No need for special tools to benefit from the higher bitrate. 

I agree. Is this camera meant to be extra small or functional?

See, I feel like the LX100 did pretty well because there was a lot of talk about it for the first year or two of its release, with all the usual suspects releasing glowing reviews of it. There was also pretty frequent videos shot on it all over YouTube. Not saying that it set the world on fire, but it certainly didn't seem like it was released and then immediately lost in the abyss like some cameras were. That we still see videos on it from within the last year is pretty impressive, honestly. 
If they released a new model with some key updates, especially a mic input, I'd snatch one up in a heartbeat even though I really don't need another camera. I think a lot of people would. It'd serve so many uses for a lot of my stuff.

Caleb Pike made something like this. I feel like you could, pretty easily and much more affordably, make your own set up that does pretty much the same thing. 
 

Caleb Pike made something like this. I feel like you could, pretty easily and much more affordably, make your own set up that does pretty much the same thing. 
 

If you're an independent artist of any type you gotta hustle. If you can make even $100 bucks selling DVDs that's $100 more bucks than you had before. Doesn't mean though that you don't explore more modern methods of distribution in conjunction. I feel like people are too quick to move on to the latest technology, eager to leave behind old technology before its even dead yet.
Physical media still accounts for 15 or so billion dollars in sales last year. Streaming only recently, as in 2016, made more revenue than physical media did. That's pretty remarkable given Apple hasn't updated/supported DVD Studio Pro since 2009 and Adobe hasn't updated/supported Encore since 2012, showing how early they'd given up on physical media. 
Indeed there are still areas in the country that don't have fast enough internet suitable for high quality video streaming. Other countries are even further behind. I live in a very rural state, Vermont, that has areas where they don't have high speed internet or even high speed wireless. For those areas streaming/downloading isn't feasible. 
I personally still get Blu-ray copies of movies I really love. Classic horror movies that have limited edition cases mostly. I'll then rip a digital copy for myself that I can watch while traveling, etc. 

If you're an independent artist of any type you gotta hustle. If you can make even $100 bucks selling DVDs that's $100 more bucks than you had before. Doesn't mean though that you don't explore more modern methods of distribution in conjunction. I feel like people are too quick to move on to the latest technology, eager to leave behind old technology before its even dead yet.
Physical media still accounts for 15 or so billion dollars in sales last year. Streaming only recently, as in 2016, made more revenue than physical media did. That's pretty remarkable given Apple hasn't updated/supported DVD Studio Pro since 2009 and Adobe hasn't updated/supported Encore since 2012, showing how early they'd given up on physical media. 
Indeed there are still areas in the country that don't have fast enough internet suitable for high quality video streaming. Other countries are even further behind. I live in a very rural state, Vermont, that has areas where they don't have high speed internet or even high speed wireless. For those areas streaming/downloading isn't feasible. 
I personally still get Blu-ray copies of movies I really love. Classic horror movies that have limited edition cases mostly. I'll then rip a digital copy for myself that I can watch while traveling, etc. 

It seems these rigs are getting a fair bit of attention lately. Here's a review I made of the ASXMOV Scorpion. It's the exact same rig, just from another brand.
 

@Liam lol i was jk im sorry~!!!! u kno i love you
in all seriousness, weird as this sounds, i KNOW ppl who SELL DVDs~! they fuckin sell em... and, weird as this is, theyre independent professional wrestlers. you see –
omg ?

While those people buying DVDs are declining there's still enough of a market, at least in independent professional wrestling where I work in, for them and Blu-ray to still warrant releasing them in my line of work. 
I think there will always be people that want physical media. Vinyl, cassette tapes, even VHS, have all maintained a consumer base, and in the case of vinyl, have seen that base grow. 
If my company can still make $400 or more (profit) selling DVDs or Blu-rays at wrestling events then, for me, yeah, it's still worth it and will remain so until it becomes too much work for not enough reward. 

While those people buying DVDs are declining there's still enough of a market, at least in independent professional wrestling where I work in, for them and Blu-ray to still warrant releasing them in my line of work. 
I think there will always be people that want physical media. Vinyl, cassette tapes, even VHS, have all maintained a consumer base, and in the case of vinyl, have seen that base grow. 
If my company can still make $400 or more (profit) selling DVDs or Blu-rays at wrestling events then, for me, yeah, it's still worth it and will remain so until it becomes too much work for not enough reward. 

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing.
You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is.

And yes, it does look rather like a calculator doesn't it?
The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are.
Here is the finished spec and features :
Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps  Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories :
Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders.  The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever.

I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then.
So, I have been a bit less lazy than first imagined
By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??