So when the new Z Cam E2C arrived I was curious to see if some of the strengths have trickled down to this very affordable model – the Z Cam E2C is currently listed at just 799 USD.
To power the camera, you can use Sony NP-F batteries or use the DC 12V 5A LEMO power port. Finally, there is an ethernet port for control/setting/live streaming, a Wifi antenna port, a USB port, and an HDMI output. Also, you have full camera control (including monitoring) through a phone application.
Edit: just after completing this review, Z CAM introduced a new firmware update (V 0.88) featuring ZRAW (internal RAW capture, partial debayer, supports up to 4096×2160@30fps initially). We might take a closer look at this ZRAW firmware in the near future.
Just like its more affordable sibling, this camera also suffers from some overheating issues. Take a look at our news post from Canon R5 launch to know more about it. This set includes an extra Canon LP-E6NH battery and Sandisk 512GB 1700MB/s CFexpress memory card.
Other than the sensor upgrade, all the features are the same as can be found in the original Z CAM E2, including the same 10bit ProRes recording to CFast cards. Z CAM only published the spec sheet for the 6k S-35 version that you can check out below. On the recording format front, the company will support internal RAW recording via a firmware update soon. More details will be revealed at the end of April.
You can activate numerous monitoring tools at the same time to help you. I’m not sure if i’s a bug or something regular, but you can “only” activate two scopes at the same time between Luma Histogram, Luma Waveform, and RGB Waveform. You can’t start all three at the same time. However, you can activate two scopes and peaking/guides/grids at the same for example. All in all, monitoring tools are fine.
With these upcoming firmware updates, the Ninja V will be capable of recording ProRes RAW HQ/ProRes RAW at up to 4K60P from the HDMI port of the E2. According to Atomos, “additional frame rates will be added in the future.” Your footage will be recorded onto affordable AtomX SSD mini SATA drives in the Ninja V.
Also, it gets very very hot and is quite power hungry. I used the “low” setting for the internal fan to avoid picking up the sound on video.
To me, being able to control the camera using a field monitor (like a RED Touch for example) is a big thing. If I can get a bigger monitor to mount on a Canon C200 or Sony FS5 and still be able to control the camera like the standard little screen, it’s a go-to.
I had to read instructions to find simple functions. For example, when you’re on the Function page, I activated the Frame Guide tool by tapping on the screen and activating it on the side. Then, I could not find where to adjust the settings and aspect ratio of that tool.
Also, there is a USB Type-A port on the right side of the monitor that you can use to power the PT5 via a power bank (5V/2A). If you power your monitor with a Sony NP-F or Canon LP-E6 battery, this USB port doubles as a 5V/1A power output that could easily charge your smartphone at the same time.
The top flap features three meshed pockets: two small ones (12.5 x 11cm/4,92 x 4,33in) at the top and a large one at the bottom (23 x 17cm/9 x 6,7in).
To know more, you can check some of our previous articles – news post with specs, Johnnie’s review, or Philip’s 75-minute review. In this bundle, you will get the camera body, Atomos Ninja V (which can record 12-bit ProRes RAW with this camera), and SmallRig 3007 Cage.
The FX9 is Sony’s new full-frame cinema camera. Announced in September 2019, it offers solid 10-bit internal recording modes, very good autofocus, audio, internal eND, and more.
However, Volta Cinema is a small team with only Tudor and his friend Oskar Woinski doing everything with love and passion. In that sense, you can’t judge and compare the product from a startup like a product from the big players of the filmmaking industry.
All the significant equipment in your bag won’t move. There are no issues with lenses, cameras, LED lights, and so on. But be careful with the tiny bits.
The biggest benefit for me is that the Volta Cinema Top Handle removes weight from your rig and keeps it well balanced. Indeed, Sony NP-F batteries at the back of a monitor tend to be clumsy and not heavily enjoyable to shoot with. With this top handle, you feel lighter and gain freedom.
The LH5P display is color calibrated by Portkeys out of the factory. The monitor is in-factory calibrated using an X-Rite i1 Display Pro colorimeter. In short, it should be pretty color accurate out of the box.
As a direct frustration with Tilta’s Nano motor which required a very specific input to perform well, I decided to have a go at designing a solution. Oskar joined me again so this time we actually ended up launching an Indiegogo campaign. At the time we didn’t have much of a prototype but the idea was clear: Someone had to put some high-capacity cells inside a top handle since it was such a mandatory piece of kit. Why not us?.
More then two years after its initial announcement, Panasonic GH5 still remains among the most popular Micro four thirds cameras for filmmakers. Its current price makes it even more affordable. Additionaly, B&H offers it with free memory card, spare battery, and camera bag.
Other than the sensor upgrade, all the features are the same as can be found in the original Z CAM E2, including the same 10bit ProRes recording to CFast cards. Z CAM only published the spec sheet for the 6k S-35 version that you can check out below. On the recording format front, the company will support internal RAW recording via a firmware update soon. More details will be revealed at the end of April.
The HDMI cable is relatively thick, and while I prefer slim cables, VIDEOGEAR at least provides you with a way to connect the monitor to a camera.
As you can see, the PortKeys LH5P represents a good value for money compared to other monitors in the same price range, but it will be up to you to decide if it ticks all the boxes for your needs.
Not all monitors are created equally, and the quality of the display behind them may vary significantly. A great on-camera monitor must be as color accurate as possible and as close to “what you see is what you get” as possible.
Also, I can’t say enough how comfortable the Flexloader L is on your shoulders and back. This is a crucial part of a backpack that will get as heavy as it can get once fully loaded.
Moreover, a NATO-type clamp has been added to the bottom, which provides better flexibility when rigging the monitor. The NATO clamp also allows the screen to be attached to a handheld bracket: a great option for a run and gun director’s monitor setup. Four 1/4”-20 threaded holes on the body provide even more mounting options.
These theoretical tests don’t have much sense to me as you usually don’t always shoot at full brightness for this amount of time without switching off the monitor, but it gives you a rough idea. In “normal” real-life shooting conditions, I found the battery life to be pretty good.
All the professional tools that you might need to monitor your image are still available, including support of 3D LUTs as well as Histogram, Zebra, False Color, De-Squeeze, and Zooming functions. Moreover, PortKeys claims that a new peaking algorithm will make focus pulling easier with this monitor, even though they do not thoroughly explain how.
If you wish to attach your monitor to a 1/4-20″ mounting accessory, all you have to do is put a 3/8-16″ to 1/4-20″ threaded insert. Simple and easy, I guess implementing this type of mounting option at the bottom of every monitor is easy to make, making every filmmaker happy.
Then, this battery compartment is held in place by the round piece with the D-Tap port and NATO rail attachment. If you loosen the two “cinema-standard” screws – it’s important for the rest of this article – on the side, you have a bit of adjustment to slide the battery part back and forth inside the mount. This is nice to position the handle where it works best for you.
The monitor mount came in two parts. The round piece’s screws had threadlocker which makes removing them really hard, but you have to do it to assemble the monitor mount together.
This rolling shutter result of 36 ms is the highest I have ever measured in the lab. Compared to the very good 11.1 ms of the sister Z CAM E2 camera, it renders the E2C a very delicate candidate for handheld work.
What do you think of this new PortKeys OEYE-3G EVF? Do you already use an EVF with your camera? Let us know in the comments down below!.
Next are the shoulder straps that do have two adjustments settings. The first one, like every backpack, is the length of each strap.
If you swipe to the left or right, you can access the System settings page. This page is where you can adjust the display settings, audio output, LUT, firmware update, etc.
As I mentioned previously, the PortKeys LH5P has one 1/4-20″ mounting point at the bottom. This is the monitor’s only mounting point, which is a bit of a letdown. I like to have multiple options for rigging a monitor to my camera, at least one on the left or right side and one at the bottom. There is nothing but an exhaust vent on the monitor’s right side, so I guess it would have been probably possible to put another mounting point here.
Also, the barrel connector should be replaced by a 4-pin power input at the back of the unit, next to the SDI input. Talking about the SDI input: the viewfinder should support resolutions up to 1080p60 via the SDI Input.
Some companies try to enter the EVF market with a monitor and a loupe attachment. It’s the case with products from SmallHD, with their SmallHD 502 + viewfinder attachment, and F&V with the SpectraHD 4 EVF. While these two solutions can be helpful, they are also quite bulky.
If you have a lot of spare time, you can watch the six hours (!) long RED Komodo Owners Q&A Discussion video which was live-streamed over at Scott Balkum’s Youtube channel. Apart from Scott, there was also Phil Holland, Tim Daust, Curtis Boggs, and Phillip Grossman present at the video. Even Jarred Land, president of RED Digital Cinema, joined in for a while and shared some background information regarding Komodo.
Edit: just after completing this review, Z CAM introduced a new firmware update (V 0.88) featuring ZRAW (internal RAW capture, partial debayer, supports up to 4096×2160@30fps initially). We might take a closer look at this ZRAW firmware in the near future.
The Volta Cinema Top Handle design is pretty “simple,” minimalistic, and I like its elegance. It consist of two main parts: the handle that doubles as the battery compartment, and a mount with the NATO rail and D-Tap port.
The Z CAM E2 also offers an HDR mode, where it captures a second image with an 8 times higher shutter speed for the highlighted part and merges it into one video frame (to increase the dynamic range by additional 3 stops).
The LEYE SDI will retail for $549/€500. It is already listed on our partners’ websites B&H and CVP, so it should be available very soon!.
The Portkeys BM5 III WR is available now for €517. When you order it, you’ll have to choose the correct control cable for your camera, if you want to control it wired.
In theory, this combo should work very well. The Portkeys BM5 monitor (for detailed specs see our article here) is a 5” FHD monitor which allows via a separate cable to display and change settings in the camera’s menu on the touchscreen – on our early prototype this didn’t work though and a newer firmware wasn’t yet available.
The PortKeys BM5 camera remote functions are compatible with the Z Cam E2, Sony/Canon/Panasonic cameras. Full list below.
The Z CAM E2 cinema camera is a great new addition to the line of micro four thirds cameras, and got so many things right in the first place – first and foremost the image (audio via the 3.5mm input leaves a lot to be desired though).
Also, once the image looks acceptable, you can start seeing that the display doesn’t have a high density of pixel: 441ppi, according to the manufacturer. If you’re pixel peeping, you can see individual pixels on the screen.
On the Portkeys PT5, there are one HDMI input port and one HDMI output port. The monitor supports a maximum input resolution of DCI 4K at 24p, 4K UHD at up to 30p, and FullHD at up to 60p. I tested all three with a Canon EOS R and a Canon EOS C70 and did not have any issues, may it be on the input or output side.
A monitor of this size and weight makes a lot of sense to use with a small and lightweight battery, like a Canon LP-E6 pack, which is around 50 grams. Indeed, for example, a Sony NP-F 970 battery is 350g, which is twice the monitor’s weight; it looks a bit ridiculous. Also, Canon LP-E6 batteries are the same I use to power my Canon EOS R. I only have to use and carry one type of battery on set.
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