Panasonic S1 is a very capable full-frame mirrorless camera. It can record internally at up to 4K 60fps in 8-bit and output 4:2:2 10-bit signal externally. For more information about the camera please check our Panasonic S1 review and the revisited V-log upgrade review.
Also, there is a USB Type-A port at the bottom of the monitor that you can use to power the LH5P via a power bank (5V/2A). If you power your monitor with a Sony NP-F battery, this USB port doubles up as a 5V/1A power output that could charge your smartphone at the same time just fine.
For BMPCC 4K/6K users, you can even control your camera wirelessly. You don’t need the additional BT1 Bluetooth module with the LH5H, as it is built-in inside the monitor. It means that you can control your BMPCC 4K/6K wirelessly out of the box!.
Material Possession ltd, the company behind Volta Cinema, is a relatively new film industry player. The British company is run by Tudor Chirila, which first launched a non-successful crowdfunding campaign for the version of its Top Handle back in November 2019.
Also, another thing that surprised me is that the NATO locking mechanism doesn’t have a spring inside. It means that when you unscrew it, the part that moves doesn’t follow the locking screw, and you might have to move it by hand. This is something minor and not a dealbreaker, but a small improvement that could be made in the next versions.
First, there are two small expendable pouches, one on each side. I have issues with this kind of tripod pockets most of the time, as they are small. To give you an idea, they barely fit a Peak Design Travel Tripod, one of the most compact camera tripods you can get.
In short, the display is not stellar by any means. But again, if you look at things with a price/performance ratio in mind, it’s definitely acceptable if you’re starting out after a few tweaks.
Have you worked with the Z CAM E2? What are your experiences with this camera? Please share your thoughts in the comments below.
The Manfrotto PRO Light Flexloader L zippers are amongst the best I’ve ever seen, period. These are YKK zippers, which are some of the world’s best zippers you can get.
Once your monitor is in place, you can tilt it forward and backwards, but within limits. Above are the maximum positions you can reach. Volta Cinema told me that the mounting screw hits the monitor mount and limits its orientation so that your monitor doesn’t fall on your lens or camera rig.
There is a 3.5mm headphone jack if your camera doesn’t have one or if you want to monitor your audio signal directly from the Black Mini. The preamp is a bit noisy, but it works.
On the Black Mini, there is only one HDMI input port. The monitor supports a maximum input resolution of UHD at up to 30p and FullHD at up to 60p. My findings are a bit different from the manufacturer’s claim of “4K 60Hz”, but it’s already pretty good.
Optimize the camera control interface and functions: improve the aperture display accuracy of BMPCC4K/6K. Fixes an issue where the BMPCC 4K resolution cannot be switched to 4K 2.4:1 4096×1720.
To charge batteries, all you have to do is slide them into the battery charger. The pins inside the charger will align with the battery connectors, and it’ll start charging. However, the batteries are not locked into place in the charger.
As I already mentioned, there is a built-in Sony NP-F style battery plate at the monitor’s back. I did a quick battery life test with a Sony NP-F970 battery at maximum brightness (1700nit). I got away with around one to one hour and a half battery life.
Finally, there is a 1/4-20″ mounting thread, and a USB Type-A port to update the firmware of the LH5H, load your LUTs, or power it.
Chinese manufacturer PortKeys has just introduced a new version of its famous HDMI-only compact electronic viewfinder: the PortKeys LEYE II. The LEYE II now features a built-in battery plate. Also, PortKeys has been teasing an SDI version of its viewfinder for quite some time now, which should be released soon. So let’s take a closer look at these!.
For example, when a monitor’s colors are wildly inaccurate, it can happen that you see orange when you’re supposed to see yellow or red. It can affect how you set your camera’s white balance or exposure, for example.
The main tube/handle is where you insert your battery. This tube is 16cm long with a diameter of 3.2cm, and the total weight with a battery inside is around 170g.
I’ll say it again: this is an $89 on-camera monitor, so don’t expect it to survive a drop at home nor monthly rentals to professional filmmakers. It gets the job done for owners/operators, but that’s it.
The Portkeys PT5 is a 5″ monitor with one HDMI input and one HDMI output port. Having HDMI loop-through is pretty impressive on a monitor at that price level. Both in and out ports support resolutions up to 4K DCI at 24p, 4K UHD at up to 30p, FullHD at up to 60p.
From what I saw, it looks like the system is very responsive and not laggy at all. This is good news for all RED Komodo users, who now have another affordable option for wireless camera control via an onboard camera monitor.
If you already have a PortKeys monitor – including the BM5, BM5 II, HH7, HS7T, OEYE-3G – the company just released several firmware updates on its website. Here are the firmware update details:.
Before we dive deeper, while I like the included hard case that does its job at protecting the monitor, there’s no extra space inside to put a battery – even if you attach a small Sony NP-F battery, the case doesn’t close anymore – or some spare HDMI cables. Even the antennas don’t fit mounted to the monitor inside the box.
The monitor has a built-in fan that you can set to auto or adjust to low/mid/high in the menu. However, it should be much more silent than other monitors in Portkeys’ lineup. It has fewer functionalities/features and is also less bright compared to their BM5 III, for example.
Talking about the bottom of the Flexloader L, there are two rugged bumpers under the dense nylon cover. These bumpers will help reduce impacts when you put your bag on the ground.
Finally, on some pages, like the Settings page, you have various settings you can adjust at the bottom of the screen/menu. But, for some settings, there are two subpages. One weird thing is that you have to use the physical buttons to access the second subpage, which doesn’t make sense to me.
Another great addition is on the backside of the monitor. In fact, the new design includes a plate on the back of the screen to comfortably host a wireless video transmission system.
I think that the can unleash its full potential if you’re shooting indoor. Also, if you’re usually doing live streamings or even professional-looking online meetings, it could be the perfect tool for you at a very reasonable price.
Among the people who got the first Komodo was Phil Holland and Philip Grossman. They both started posting first thoughts and answering questions about Komodo quite quickly. Phil Holland made a special thread on REDuser where he shares his findings on Komodo. Philip Grossman posted already several sample clips and comparisons with his RED Helium 8K on his Youtube channel.
Z Cam E2C cinema camera rigged up with a monitor (Portkeys BM5) and a ZOOM H2 (not visible, behind the monitor) for audio capture via the 3.5mm input.
The fan is quiet; you can hear it when you start the monitor because it’ll kick in at maximum fan speed for a second. But, once the monitor is on, you’ll have to put your hear next to the exhaust vent to notice it at low speed, and even an on-camera microphone would have a hard time catching it.
Last week, we were the first to report about a new company named PortKeys and their BM5, a field monitor capable of controlling your camera. Ahead of NAB 2019, the company just announced another exciting product, the OEYE-3G EVF. Let’s take a look at this exciting new EVF.
Now, this was a major deciding factor for me to take the Z CAM E2 cinema camera on my trip – 4k DCI ProRes HQ in a small but durable package – despite the risk of taking a new, unknown camera with me I just couldn’t say no.
This style of cameras usually comes with lots of external ports, and the Z CAM E2 is no different. There is a 10-pin LEMO port for timecode sync, as well as a 2.5mm LANC jack. In terms of audio, there is a 3.5mm mic output plus headphone jack and a 5-pin LEMO port for a dual channel XLR microphone.
Back then it was hampered by a weak codec (Full HD, AVCHD in 17Mbps) and the max. usable ISO value was 400, but the Voigtlaender lenses gave it the full frame look (e.g. the 25mm f0.95), and the hack of V. Kiselev at a later stage improved the bitrate to a stable 25Mbps. All in all, I loved the images – so much that I never sold it….
I would suggest getting a case for transporting these batteries inside your camera bag. Maybe Volta Cinema will come out with a battery pack holder in the near future.
Another company that announced some Komodo Accessories is KipperTie. They offer a PL to RF mount adapter with a mounting foot. Additionally, the company offers a mounting bracket called Chinstrap for extra PL mount lens support even without a baseplate.
The PortKeys LH5P is a 5.5″ monitor that came out in January 2021. This 1700nit monitor features an HDMI input and an HDMI output port, and it supports resolutions up to 4K DCI. With a very aggressive price tag under $400, this small on-camera display can even control your camera wired or wirelessly. Let’s take a closer look at it!.
However, I think that the Portkeys PT5 is more suited if you’re often shooting inside. For example, during corporate/interview shoots inside, it’s an excellent low-cost option that I had a blast using.
Most of the time, you can’t use a probe or spectrophotometer to adjust your on-camera monitor. It means that you’ll have a hard time trying to calibrate it correctly by hand with only a few built-in picture adjustment tools at your disposal in the menu system. In short, on-camera monitors must be as good as possible out of the box with minimal color adjustments needed by the end-user.
I used the Volta Cinema Top Handle during seven full productions days, it held all its promises, and it’s been a joy to use. It’s a nine out of ten usability score for me, because the one thing that I am missing is a battery indicator on the handle to see the battery state with a push of a button.
In terms of battery life, I’d say it’s a massive improvement over a Sony NP-F 970 battery on the back of an on-camera monitor. On the SWIT CM-S75F, one Volta36 battery gave me close to four/five hours of continuous runtime. On the PortKeys BM5, my four hours shoot was over, and the top handle’s battery wasn’t dead.
The camera supports recording in ProRes 422 HQ/Normal/LT as well as H.265 and H.264 codecs. It records directly onto CFast cards and also includes time-lapse modes.
This type of case is similar to most – if not all – Portkeys monitors. However, I was pleased to see that this case is more prominent than previous cases.
Once you switch the power button on, the monitor takes around ten seconds until it is operational, which is acceptable.
For sound, I took a Sennheiser MKE 440 with me, using the 3.5mm audio input on the Z CAM E2 – mounted to the side, which was not ideal. Also, the recorded sound quality via the 3.5mm input leaves a lot to be desired. I hope Z CAM can improve on the audio part in the future.
The display has a resolution of 1920 x 1080, with a maximum brightness of 1700 nit. Also, it is a touchscreen display to navigate inside the menu.
Just like the original F7, the PRO version is packed with the most common monitoring tools to precisely control your image. These tools can be displayed independently or in an all-scopes mode.
Fig. 2:IMATEST calculates 10.8 stops of dynamic range for the Z CAM E2 cinema camera at a signal to noise ratio of 2 for 4k DCI ISO500 ProRes recording using Z-LOG2 (1/SNR = 0.5, medium value in the upper right hand table).
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