AWESOME video ... thank you ... learned. a lot ... not only about the camera ... but love the side topics of being a film-maker protocols ... ohhh and my favourite - "I don't do that ... "
Thank you for doing this. I will be purchasing this camera very soon, and this comprehensive overview of how the entire camera functions helps me beforehand to hit the ground running :)
Thank you for the video. It’s very helpful.. One thing though - 02:07:23 You said anamorphic is trendy? Hasn’t it been around for over 70 years ago and still used to this day in many major Oscar winning films? Using one lens for a feature doesn’t make one “not very good” ? But many wonderful movies have been shot using one lens Birdman (18mm) The Wrestler (12mm/Super16) Bottle Rocket (27mm) The Last Picture Show (28mm) The Witch (32mm) Call me by your name (35mm) Chinatown (40mm) Royal Tennenbaums (40mm)...list goes on Are they “Compromising their art” ? On the contrary - I think its one of many aspects that escalates filmmaking. Filmmaking is more than just one’s lens or lenses. Thank you for your tech menu videos. Keep up the good work 👍🏼
Thanks - I have to admit, with a bit of shame, that you heard me generalizing badly! I think I mentioned my narrower pet peeve, compared to the quality list of examples you cited: I was really directing my ire against low-budget indie films that deploy "ultra-widescreen" aspect ratios for no actual creatively meditated reason - besides the amateur presumption that it ups the game for looking "cinematic." And I don't even mean that ultra-widescreen/'scope/etc. should limit to high-budget epics: just two nights ago, I watched the brilliant Eugene Jarecki documentary "The King" which really relied upon anamorphic lenses quite literally to fit a whole backseat of Elvis' Rolls Royce into a single shot, and there's no point in pulling back to a wider focal length that includes a bigger top and bottom because there's no meaningful content up/down there. And then, one last thing to explain my generalized sneering at ultra-wide/'scope aspect ratios: in typical practice, it's actually just a reduction of pixel information because indies simply crop out the top and bottom of standard 16:9 video. Whereas, true anamorphic lenses and camera modes leverage more sensor pixels via stretching. So in sum, it's more complicated than a yes or no, I do admit and agree!
Thank you for this incredibly comprehensive guide! I've got an E2C on the way, with plans for an E2 S6 later this year. This video has been a GREAT help. Question regarding you saying to use zlog all the time. I come from a Sony A7RII, and the school of thought for me is slog-2 in bright/high range situations (pretty much always outdoors) and another profile (like cine2 or still) for low light, low range situations due to noise w/slog-2 in low light. Do you recomend zlog for EVERYTHING? (bright light, low light, low and high dynamic range, etc)
Thanks much. About shooting in log of any type, it's a balance of priorities but also it's relative! All these cameras are in the "large-sensor, low-light" category if we're comparing to video camcorders just a few years ago, especially with interchangeable lenses and their ability to leverage very big apertures. And all of Z CAM cameras, including the E2C, have a brand new, impressive "Low Noise" codec mode too. That's all balanced against the primary virtue of matching different cameras and different shots so that there is uniformity, not to mention a "film look" that simply results best from shooting in log, rather than baked-in dynamic range compromises of shooting in non-log, REC.709. Simply put, even in low light, I'd rather live with a little grain (or remove it with Neat Video) than offend my viewers by bouncing around between color spaces within a scene or even a whole project.
Thank you so much for this detailed review. I am new to video while reaching new heights in my photography career, and have been drooling over this camera as I learn. One of my main questions is do I need an adapter or converter to use Nikon lenses. I've read somewhere that you can use Nikon Full Frame lenses on this body. Can you confirm and/or suggest lenses for me please? Thank you.
Thanks much. I'm afraid I don't have experience with Nikon lenses, but in general, if you've already got good glass, no reason to change formats if you don't have to! And definitely, you can adapt Nikon lenses onto the Micro Four Thirds lens mount because of the shorter flange distance of Nikon lenses, that makes Micro Four Thirds adapters possible (basically, an active or passive spacer). Here are some: bhpho.to/38uvOnS
In the days of analogue broadcast television, the average television was "zoomed in", by adjusting something called "Overscan". This was done to hide the vertical sync bars embedded in the signal that televisions used to align the vertical placement of the image in teh screen. Safe Areas were established to prevent corner logo bugs and subtitles from getting pushed off screen from the overscan adjustment.
Quite true, what I'm referring to here - though I suppose there are some broadcast entities that keep enforcing the standard, on account of almost no remaining real-world audiences (especially considering the odds of a Z CAM being used for a program that is in turn broadcast traditionally).
Thanks for this video! I am trying to find out about remotely triggering the camera through LANC port. Ideally I would expose only one frame per trigger, like a timelapse, but with manual intervals. Do you have any idea if this is possible?
Thanks. Regarding ZRAW, I'm of the tentative opinion that the E2C's sensor really can't resolve enough detail to justify shooting in ZRAW, which is still not fully integrated into NLEs, and also, less efficient than other competing RAW codecs in the industry.
@@focuspulling According to this, which do you recommend as the best codec, quality and format for commercials, short films and good quality material, and thanks for your response, you won another new subscriber
Great question; it's actually addressed in my (very long!) video here somewhere other than the actual shutter speed menu explanation, in regards to high frame rates. Motion blur becomes decreasingly valuable, to a point of no value, as you increase over-cranking, because there's not enough time on each individual frame to even reproduce any motion blur. By the time you get to 240fps, shutter speed can increase significantly. BUT! The big caution here is that in the opposite direction, you can get terrible results if you have a very low shutter speed while overcranking, rendering a "smeared" look if the camera is shaky or not locked down.
@@focuspulling, thanks, from my use of the E2 I've found that when shooting in 120fps I'm better of using 360° shutter angle to double the amount of available light without having to resort to higher ISO or aperture. I set the playback rate to 59.94, so in effect I still achieve 180° shutter angle when the video is played back, retaining the smoothness of the 2X slow motion, and can increase payback to 200% for the parts I want to play back at normal speed. And at least to my non expert eye the 200% rendered parts do not look unnaturally strobed or choppy. Just love all the frame rate options that the E2 offers. Cheers!
They're surprisingly similar cameras, as I mention: allegedly using the same sensor - but the E2C performs substantially better than the GH4, especially comparing V-Log to Z-Log, low noise mode, and codec performance. So long as you're flexible about using an external monitor/smartphone, it's a win-win situation. But if you can afford it, consider the new E2-M4.
Thanks for this video. I’m now debating on h.265 or ProRes. I think I know your thought on the subject, but my I am curious to know if there is a quality difference between the two.
Well, there's no denying that the ProRes quality would be marginally better, if only in theory rather than practice. I don't think that the E2C's sensor definition can resolve an image enough to distinguish the two codecs, and I also note (after using the E2C for some time, managing card space) that their H.265 implementation is fairly robust by evidence of higher-than-usual bitrates -- taking up a chunk of card space that's surprising but still orders of magnitude less than ProRes. As usual, the long-game answer is just that you need to try for yourself and compare! A legitimate full test would shoot in Z-Log and proceed to do a full grade, though, pushing each codec to its limit (advantage: ProRes).
I'd give it a 7 for documentary running-and-gunning (in comparison to giving it a 10 for servicing a live shoot as a B-cam with remote control). Pulling critical focus in 4K requires an attached monitor, or the smartphone app, which even so leaves a little to be desired in terms of its focus peaking capability. And lack of internal image stabilization makes you rely on your lenses to smooth out hand-held motion, in this world of increasingly cheap/skimpy manufacturers leaving I.S. out of lenses. (And of course, the form factor is clearly not made for hand-held use.) The audio pre-amps are improved lately, but still below-par, unless you're running separate audio anyway. So, the E2C has a niche, for me at least, complementing other more mobile or robust cameras, as a 2nd or 3rd position in a multicam shoot. Hope that helps.
hi. Great Video. I'm looking for a low budget camera to make a movie. Would you be recommending this? I will be mostly shooting indoors and on the street. Also, what are your lens suggestions?
If you can spend a little more on a Blackmagic Pocket Cinema Camera 4K ($1.3 at focuspull.in/bmpcc4k), it's a more proven-out, robust camera with a built-in 5" monitor too, and sophisticated yet efficient BRAW implementation. For either camera, though, I highly recommend the Olympus 12-100mm f/4 lens because of its amazing in-lens stabilization (as neither camera body provides proper stabilization).
My (belated) guess is that you are seeing the camera's redundant peaking function which disables when you're sending "clean" HDMI output meant for external recording, whereas in this situation -- I should have explained better, sorry -- you want to disable the camera's peaking function, and enable the monitor's peaking function. Hope that helps.
FocusPulling (.com) nope. It so weird because I see them on my external monitor but not on the app. But on the ap I can see my peaking. It’s driving me crazy. Thank you sooo much for this video btw. Just got my E2C and watched this vid to set it up
Tilo sheaves Author Set variable frames, z cam e2c, problems, My steps are as follows. 1 set Full HD, then 29.97, then in video vfr trying to get from off to on to set 60 frames. Function remains off.? What am I doing wrong? Sorry my English is not so good and greetings from Germany
Thanks for your very helpful guide! I just purchased an E2c, and this will prove to be very valuable. I do have a problem and perhaps you can help. I am trying to upgrade the firmware using the assistant, and I get as far as rebooting the camera, the window asks if I want to upgrade when I click OK it say begin upgrading and then goes back to standby. What am I doing wrong?
Glad you asked; if you found the firmware updating process confusing, I'd agree. Z CAM's Web site doesn't even mention the option to update using the SD card, but that's my preferred method (put the file in the root directory of the SD card). Also, as you noticed, it's not enough to confirm the upgrade with the OK button: you also need to dig into the last menu and manually initiate the upgrade. I wish they'd clarify this officially!
@@focuspulling You have no idea how frustrating the entire ordeal was! I tried everything that I could imagine; the controller app, the SD card, the SSD, and the web-browser. The camera would keep throwing " bad update file and no update errors. The folks on the E2 FB group and zcams tech support, kept copying an pasting the same instructions. I downloaded the correct update file on three successive days, then, on the third day, using the the web-browser, it updated just fine. It did seem odd to me that the checksum of the file was different than the previous one and that it suddenly worked after their tech contacted me. . .but who knows. Anyway I'm updated to 0.94 and good to go, except the screwed up Zebras and there is no ability to apply the LUT for zlog2. . .
i have a problem with my e2c when i record on the built in microphone i hear the camera fan and when i put my ear on the battery side of the camera i can hear the fan as well do you have he same problem maybe it was always here an i never noticed a i rarely record audio if you can just confirm so that i know y camara is not broken or anything thank you
My best guess, estimating what you hear, is that it might be a high noise floor because of the combination of the known mediocrity of pre-amps in the E2C, but also maybe a feedback loop caused by the internal speaker playing back what it is simultaneously capturing via internal microphones. So, you might try lowering the playback volume to zero and seeing what happens. (There is no fan actually in the E2C.)
@@focuspulling I hear the noise when the camara is on as well not just in the recording tried contacting zcam but jip no response I thought it's maybe faulty battery but bought a new one same noise
"TimeCode is outdated" said nobody who has a full-day of multti-cam shoot with multi-track audio. Honestly, if I'm hiring someone to film and edit my video I'm not paying for the hours he'd be spending figuring out which shot goes with which audio and whatnot. That's the difference between CZcamsrs and proper professional work.
You are incorrect. PluralEyes is simply faster after total quantum time spent, and more frame-accurate especially when you need to incorporate audio drift features, and numerous parallel tracks/sources. Sorry you invested so much in timecode gear, but it's time to move on...
focuspull.in/join
AWESOME video ... thank you ... learned. a lot ... not only about the camera ... but love the side topics of being a film-maker protocols ... ohhh and my favourite - "I don't do that ... "
Amazing runthrough you are a hero!!!!
Thank you for doing this. I will be purchasing this camera very soon, and this comprehensive overview of how the entire camera functions helps me beforehand to hit the ground running :)
Thank you sooo much for this detailed guide
Appreciate taking ur time and effort to this complete guide, thank you so much 🌹
My pleasure. Happy New Year.
@@focuspulling Thanks and Happy New Year
So you were able to film RAW to the SSD with the E2c or did you have to use a Ninja V?
Thank you for the video. It’s very helpful..
One thing though - 02:07:23 You said anamorphic is trendy? Hasn’t it been around for over 70 years ago and still used to this day in many major Oscar winning films?
Using one lens for a feature doesn’t make one “not very good” ? But many wonderful movies have been shot using one lens
Birdman (18mm)
The Wrestler (12mm/Super16)
Bottle Rocket (27mm)
The Last Picture Show (28mm)
The Witch (32mm)
Call me by your name (35mm)
Chinatown (40mm)
Royal Tennenbaums (40mm)...list goes on
Are they “Compromising their art” ? On the contrary - I think its one of many aspects that escalates filmmaking. Filmmaking is more than just one’s lens or lenses.
Thank you for your tech menu videos. Keep up the good work 👍🏼
Thanks - I have to admit, with a bit of shame, that you heard me generalizing badly! I think I mentioned my narrower pet peeve, compared to the quality list of examples you cited: I was really directing my ire against low-budget indie films that deploy "ultra-widescreen" aspect ratios for no actual creatively meditated reason - besides the amateur presumption that it ups the game for looking "cinematic." And I don't even mean that ultra-widescreen/'scope/etc. should limit to high-budget epics: just two nights ago, I watched the brilliant Eugene Jarecki documentary "The King" which really relied upon anamorphic lenses quite literally to fit a whole backseat of Elvis' Rolls Royce into a single shot, and there's no point in pulling back to a wider focal length that includes a bigger top and bottom because there's no meaningful content up/down there. And then, one last thing to explain my generalized sneering at ultra-wide/'scope aspect ratios: in typical practice, it's actually just a reduction of pixel information because indies simply crop out the top and bottom of standard 16:9 video. Whereas, true anamorphic lenses and camera modes leverage more sensor pixels via stretching. So in sum, it's more complicated than a yes or no, I do admit and agree!
Thank you for this incredibly comprehensive guide! I've got an E2C on the way, with plans for an E2 S6 later this year. This video has been a GREAT help.
Question regarding you saying to use zlog all the time. I come from a Sony A7RII, and the school of thought for me is slog-2 in bright/high range situations (pretty much always outdoors) and another profile (like cine2 or still) for low light, low range situations due to noise w/slog-2 in low light. Do you recomend zlog for EVERYTHING? (bright light, low light, low and high dynamic range, etc)
Thanks much. About shooting in log of any type, it's a balance of priorities but also it's relative! All these cameras are in the "large-sensor, low-light" category if we're comparing to video camcorders just a few years ago, especially with interchangeable lenses and their ability to leverage very big apertures. And all of Z CAM cameras, including the E2C, have a brand new, impressive "Low Noise" codec mode too. That's all balanced against the primary virtue of matching different cameras and different shots so that there is uniformity, not to mention a "film look" that simply results best from shooting in log, rather than baked-in dynamic range compromises of shooting in non-log, REC.709. Simply put, even in low light, I'd rather live with a little grain (or remove it with Neat Video) than offend my viewers by bouncing around between color spaces within a scene or even a whole project.
@@focuspulling
Thank you for the reply, and understood!
Nicely detailed video! Is there an easy way to pull focus on the app? Im having trouble finding this info on the net
Thank you so much for this detailed review. I am new to video while reaching new heights in my photography career, and have been drooling over this camera as I learn.
One of my main questions is do I need an adapter or converter to use Nikon lenses. I've read somewhere that you can use Nikon Full Frame lenses on this body. Can you confirm and/or suggest lenses for me please?
Thank you.
Thanks much. I'm afraid I don't have experience with Nikon lenses, but in general, if you've already got good glass, no reason to change formats if you don't have to! And definitely, you can adapt Nikon lenses onto the Micro Four Thirds lens mount because of the shorter flange distance of Nikon lenses, that makes Micro Four Thirds adapters possible (basically, an active or passive spacer). Here are some: bhpho.to/38uvOnS
In the days of analogue broadcast television, the average television was "zoomed in", by adjusting something called "Overscan". This was done to hide the vertical sync bars embedded in the signal that televisions used to align the vertical placement of the image in teh screen. Safe Areas were established to prevent corner logo bugs and subtitles from getting pushed off screen from the overscan adjustment.
Quite true, what I'm referring to here - though I suppose there are some broadcast entities that keep enforcing the standard, on account of almost no remaining real-world audiences (especially considering the odds of a Z CAM being used for a program that is in turn broadcast traditionally).
@@focuspulling I liked video. I actually watched the entire thing. Some sections more than once.
Time code rocks
How would you rate this camera? Would you say it is qualified to be considered as a cinema camera?
Can I set white balance by facing a white paper to the camera ?
Thanks for this video! I am trying to find out about remotely triggering the camera through LANC port. Ideally I would expose only one frame per trigger, like a timelapse, but with manual intervals. Do you have any idea if this is possible?
Thank you for this great job, you could do a tutorial that teaches how to use ZRAW VideoSuite with the ZCAM E2C
Thanks. Regarding ZRAW, I'm of the tentative opinion that the E2C's sensor really can't resolve enough detail to justify shooting in ZRAW, which is still not fully integrated into NLEs, and also, less efficient than other competing RAW codecs in the industry.
@@focuspulling According to this, which do you recommend as the best codec, quality and format for commercials, short films and good quality material, and thanks for your response, you won another new subscriber
Do you still hold to the 180° rule when shooting very high frame rates, such as 120 or 240fps?
Great question; it's actually addressed in my (very long!) video here somewhere other than the actual shutter speed menu explanation, in regards to high frame rates. Motion blur becomes decreasingly valuable, to a point of no value, as you increase over-cranking, because there's not enough time on each individual frame to even reproduce any motion blur. By the time you get to 240fps, shutter speed can increase significantly. BUT! The big caution here is that in the opposite direction, you can get terrible results if you have a very low shutter speed while overcranking, rendering a "smeared" look if the camera is shaky or not locked down.
@@focuspulling, thanks, from my use of the E2 I've found that when shooting in 120fps I'm better of using 360° shutter angle to double the amount of available light without having to resort to higher ISO or aperture. I set the playback rate to 59.94, so in effect I still achieve 180° shutter angle when the video is played back, retaining the smoothness of the 2X slow motion, and can increase payback to 200% for the parts I want to play back at normal speed. And at least to my non expert eye the 200% rendered parts do not look unnaturally strobed or choppy. Just love all the frame rate options that the E2 offers. Cheers!
Hi All, Im on the gh4 and I looking to getting this Zcam e2c, what you guys think. Thanks
They're surprisingly similar cameras, as I mention: allegedly using the same sensor - but the E2C performs substantially better than the GH4, especially comparing V-Log to Z-Log, low noise mode, and codec performance. So long as you're flexible about using an external monitor/smartphone, it's a win-win situation. But if you can afford it, consider the new E2-M4.
Thanks for this video. I’m now debating on h.265 or ProRes. I think I know your thought on the subject, but my I am curious to know if there is a quality difference between the two.
Well, there's no denying that the ProRes quality would be marginally better, if only in theory rather than practice. I don't think that the E2C's sensor definition can resolve an image enough to distinguish the two codecs, and I also note (after using the E2C for some time, managing card space) that their H.265 implementation is fairly robust by evidence of higher-than-usual bitrates -- taking up a chunk of card space that's surprising but still orders of magnitude less than ProRes. As usual, the long-game answer is just that you need to try for yourself and compare! A legitimate full test would shoot in Z-Log and proceed to do a full grade, though, pushing each codec to its limit (advantage: ProRes).
any firmware update video?
What would this camera be for, would it have professional use, is it worth buying?
Does variable frame rate top out at 30 fps on e2c? Can you get 36fps
Thank you for making this video.
How would you rate this camera for 4K video capture such as documentary film?
From score of 1 to 10.
I'd give it a 7 for documentary running-and-gunning (in comparison to giving it a 10 for servicing a live shoot as a B-cam with remote control). Pulling critical focus in 4K requires an attached monitor, or the smartphone app, which even so leaves a little to be desired in terms of its focus peaking capability. And lack of internal image stabilization makes you rely on your lenses to smooth out hand-held motion, in this world of increasingly cheap/skimpy manufacturers leaving I.S. out of lenses. (And of course, the form factor is clearly not made for hand-held use.) The audio pre-amps are improved lately, but still below-par, unless you're running separate audio anyway. So, the E2C has a niche, for me at least, complementing other more mobile or robust cameras, as a 2nd or 3rd position in a multicam shoot. Hope that helps.
hi. Great Video. I'm looking for a low budget camera to make a movie. Would you be recommending this? I will be mostly shooting indoors and on the street. Also, what are your lens suggestions?
If you can spend a little more on a Blackmagic Pocket Cinema Camera 4K ($1.3 at focuspull.in/bmpcc4k), it's a more proven-out, robust camera with a built-in 5" monitor too, and sophisticated yet efficient BRAW implementation. For either camera, though, I highly recommend the Olympus 12-100mm f/4 lens because of its amazing in-lens stabilization (as neither camera body provides proper stabilization).
Any tips on how to keep peaking on while recording? The moment I hit record, peaking turns off. Not good for doing rack focus.
My (belated) guess is that you are seeing the camera's redundant peaking function which disables when you're sending "clean" HDMI output meant for external recording, whereas in this situation -- I should have explained better, sorry -- you want to disable the camera's peaking function, and enable the monitor's peaking function. Hope that helps.
@@focuspulling Makes sense. Thanks!
whats the battery life like? shooting 4k 24p?
I get about an hour, but YMMV
were you able to get Zebras to show on the App?
Yes, but they're very thin/slight and ought to be thicker. Can you see them?
FocusPulling (.com) nope. It so weird because I see them on my external monitor but not on the app. But on the ap I can see my peaking. It’s driving me crazy. Thank you sooo much for this video btw. Just got my E2C and watched this vid to set it up
Tilo sheaves
Author
Set variable frames, z cam e2c, problems,
My steps are as follows. 1 set Full HD, then 29.97, then in video vfr trying to get from off to on to set 60 frames. Function remains off.? What am I doing wrong?
Sorry my English is not so good and greetings from Germany
Thanks for your very helpful guide! I just purchased an E2c, and this will prove to be very valuable. I do have a problem and perhaps you can help. I am trying to upgrade the firmware using the assistant, and I get as far as rebooting the camera, the window asks if I want to upgrade when I click OK it say begin upgrading and then goes back to standby. What am I doing wrong?
Glad you asked; if you found the firmware updating process confusing, I'd agree. Z CAM's Web site doesn't even mention the option to update using the SD card, but that's my preferred method (put the file in the root directory of the SD card). Also, as you noticed, it's not enough to confirm the upgrade with the OK button: you also need to dig into the last menu and manually initiate the upgrade. I wish they'd clarify this officially!
@@focuspulling You have no idea how frustrating the entire ordeal was! I tried everything that I could imagine; the controller app, the SD card, the SSD, and the web-browser. The camera would keep throwing " bad update file and no update errors. The folks on the E2 FB group and zcams tech support, kept copying an pasting the same instructions. I downloaded the correct update file on three successive days, then, on the third day, using the the web-browser, it updated just fine. It did seem odd to me that the checksum of the file was different than the previous one and that it suddenly worked after their tech contacted me. . .but who knows. Anyway I'm updated to 0.94 and good to go, except the screwed up Zebras and there is no ability to apply the LUT for zlog2. . .
i have a problem with my e2c when i record on the built in microphone i hear the camera fan and when i put my ear on the battery side of the camera i can hear the fan as well do you have he same problem maybe it was always here an i never noticed a i rarely record audio
if you can just confirm so that i know y camara is not broken or anything thank you
My best guess, estimating what you hear, is that it might be a high noise floor because of the combination of the known mediocrity of pre-amps in the E2C, but also maybe a feedback loop caused by the internal speaker playing back what it is simultaneously capturing via internal microphones. So, you might try lowering the playback volume to zero and seeing what happens. (There is no fan actually in the E2C.)
@@focuspulling I hear the noise when the camara is on as well not just in the recording tried contacting zcam but jip no response
@@focuspulling I hear the noise when the camara is on as well not just in the recording tried contacting zcam but jip no response I thought it's maybe faulty battery but bought a new one same noise
"TimeCode is outdated" said nobody who has a full-day of multti-cam shoot with multi-track audio. Honestly, if I'm hiring someone to film and edit my video I'm not paying for the hours he'd be spending figuring out which shot goes with which audio and whatnot. That's the difference between CZcamsrs and proper professional work.
You are incorrect. PluralEyes is simply faster after total quantum time spent, and more frame-accurate especially when you need to incorporate audio drift features, and numerous parallel tracks/sources. Sorry you invested so much in timecode gear, but it's time to move on...