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IronFilm

Z Cam E2 Cinematic Camera is US$33,880!

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On 7/17/2018 at 4:57 AM, IronFilm said:

The whispers I've heard is yes they will get it. 

And lots of newbie companies have got ProRes: AJA, BMD, etc

BMD has been making cameras since 2012.

...and doing ProRes recording in field based recorders for even longer (Hyper-decks) and in desktops for even longer again....

I'd argue a giant part of the reason FCP is where it is today is because Grant made capture cards that worked so well with FCP. I remember using FCP V1.25 with a capture card made by grant that cost a tiny fraction of the then titans AVID (180K), Media 100 (80k) and Pinnacle Wave (100K).

ProRes recoding in-camera and in the field is a lot more difficult to get (approved) than rendering ProRes files out of a desktop app.

Just google how difficult it is for iOS software developers to get things approved by apple and then multiply that headache by 100.  

Some will recall the delay to the original BMCC shipping ? You can't ship a product till Apple say you can....Even if they're late....And you sure can't say why it's late publicly either because they can turn around and say...nah.

Every "new" product goes through the same approval process from scratch....

There are many that announced ProRes recording support and then were never able to ship a product (RED, JVC)

JB

 

 

 

 

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

And to that may I add: Last week I had to add another camera/shooter last minute for a client project.

I had three cameras all recording ProRes HQ and the "emergency" shooter was doing pickups on his FS5.

When I got his footage I was immediately reminded of how weak his that codec was and how spoiled we've become over the last 6 years shooting BM in ProRes day to day on multiple cameras. Granted he wasn't the greatest shooter I've used but it really struck me how solid and beautiful footage from virtually any of these inexpensive BM cameras is.

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22 hours ago, IronFilm said:

There are indeed newbies to the camera came! 
That was AJA's first ever camera (and so far only one). 
Ditto BMD, the BMCC wasn't really that long ago in the grand scheme of things!

 

Nope, the Terra isn't even four years old!!

TERRA is indeed more than four years old since its development. New products don't get developed on the day of announcement/release.

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On 7/22/2018 at 12:22 AM, DBounce said:

Well Aja was founded 25 years ago, while BMD is only 17 years old. Since neither company manufacturers lenses its likely that much of their experience lended itself well to making the jump to camera design.

What it is your point? Kinefinity also has a deeper background than simply their first ever camera. 

3 hours ago, Luke Mason said:

TERRA is indeed more than four years old since its development. New products don't get developed on the day of announcement/release.

The same point could be made about the Z Cam E2, I'm sure it has had a long build up to get to this point. 

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On 7/21/2018 at 5:36 PM, Jim Giberti said:

And to that may I add: Last week I had to add another camera/shooter last minute for a client project.

I had three cameras all recording ProRes HQ and the "emergency" shooter was doing pickups on his FS5.

When I got his footage I was immediately reminded of how weak his that codec was and how spoiled we've become over the last 6 years shooting BM in ProRes day to day on multiple cameras. Granted he wasn't the greatest shooter I've used but it really struck me how solid and beautiful footage from virtually any of these inexpensive BM cameras is.

You can even add an FS7 to that list.
With its Intraframe 10 bit codec it still manages to produce banding artifacts in lower lit areas of an image and even shows severe sharpening and nr artifacts - in CineEI mode

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It really is about the person behind the camera. 

Literally every other clip I've seen from the E2 looks pretty bad color wise / oversharp.  PB makes it look decent but I have serious doubts about the color science being any good based on all the other clips.

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3 hours ago, scotchtape said:

It really is about the person behind the camera. 

Literally every other clip I've seen from the E2 looks pretty bad color wise / oversharp.  PB makes it look decent but I have serious doubts about the color science being any good based on all the other clips.

Yeah one of the reasons I haven't really gotten serious about buying one.

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4 hours ago, scotchtape said:

It really is about the person behind the camera. 

Literally every other clip I've seen from the E2 looks pretty bad color wise / oversharp.  PB makes it look decent but I have serious doubts about the color science being any good based on all the other clips.

For me, I was sold on the color science after downloading footage and grading it myself. I wasn't happy with much i saw on the web either, but it was so easy to work with.

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On 3/23/2019 at 9:44 PM, scotchtape said:

It really is about the person behind the camera. 

Literally every other clip I've seen from the E2 looks pretty bad color wise / oversharp.  PB makes it look decent but I have serious doubts about the color science being any good based on all the other clips.

The more I learn about colour grading, the more I learn that when you watch a video online you're judging the person's colour grading, not the camera or colour science.

I've even seen the people who sell LUTs do things that show they don't understand colour spaces or gammas properly, so even the people who expose well and apply a LUT they bought are still subject to the low standard of colour grading on the internet.

My understanding is that PB just uses FilmConvert to grade, so I didn't get the impression he's at the level of a professional colourist or anything.  I'd suggest that the camera plus something like FilmConvert would probably be easy and quick enough to work out.

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4 hours ago, kye said:

The more I learn about colour grading, the more I learn that when you watch a video online you're judging the person's colour grading, not the camera or colour science.

I've even seen the people who sell LUTs do things that show they don't understand colour spaces or gammas properly, so even the people who expose well and apply a LUT they bought are still subject to the low standard of colour grading on the internet.

My understanding is that PB just uses FilmConvert to grade, so I didn't get the impression he's at the level of a professional colourist or anything.  I'd suggest that the camera plus something like FilmConvert would probably be easy and quick enough to work out.

Yeah it also comes down to what you are shooting. Sunsets are generally a pretty safe bet and not too hard to grade for.

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