Thread: Here comes Z CAM

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  1. #11  
    Quote Originally Posted by dop16mm View Post
    I've read the specs and the 6k full frame is really interesting for those that want a full frame camera, the 8k is really limited in frame rates just for the sake of 8k. They have a way to go to compete software wise, they are developing their own Raw so who knows what that will be. ProRes once licensed will surely be no more than scaled 4k.

    I kind of hope Apple kicks Reds ass in the compressed raw patent war, companies like ZCam could be much better if they could just license ProRes raw and concentrate of building hardware. Pricing has been adjusted post pocket 6k, at least for the s35 model, pretty sure it was announced at $3995, they seem to have dropped The MFT mount option, which was mainly for the speedbooster crowd, but I was seriously considering that option for certain native manual lenses that cover s35.
    Me too. I wonder what happened? I hope it is possible and I hope Black Magic Design offers an active mft mount as an option on the new pocket 6k in a couple of months like they did with the original bmcc. Then I would get the fuji mft MK 18-55 and 50-135 cine zooms. Or is this a bad idea?
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  2. #12  
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    If my Zcam goes down, and has to be returned to China, will it be at my own cost? Will it get through Chinese customs? How long before it gets back? This is a severe limitation to their current business model.
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  3. #13  
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    Quote Originally Posted by GeranSimpson View Post
    A major part of the disruption for Blackmagic is Braw and recording 422 prores (and higher for UMP). Without that, might as well get a mirrorless. Zcam codec options are really subpar.
    I see no disruption in the US market from zcam until that hurdle is passed over.
    The Z Cam E2 (which is based on the same hardware platform, but with a Micro 4/3 sensor) already has support for ProRes (LT, 422, and HQ) up to DCI 4K @ 60 fps. It also supports ProRes encoding in a 4:3 aspect ratio at 3696 x 2772 resolution up to 60 fps (which I suppose could be useful for anamorphic shooting). So it would surprise me if the Super 35 and Full Frame Z Cam models were not also capable of this as well.

    This article mentions that they are working on getting the new cameras licensed for ProRes recording at up to 6K resolution:
    https://www.cinema5d.com/z-cam-e2-f6...-pre-ordering/

    When the Z Cam E2 first started shipping about a year ago, it only started with H.264 and H.265 recording initially. But someone digging around in the firmware package discovered that the firmware actually supported ProRes encoding already, it was just not exposed as an option via the camera menus. Once the ProRes licensing for the camera was approved, then ProRes recording was made officially available via a firmware update (which really just displayed these new codec options in the menu).

    So I'd anticipate the situation will likely be similar with these new cameras and Z Cam will start shipping them as soon as the hardware is ready to go. And once the ProRes licensing goes through, recording in these codecs will be made available in a firmware update.

    In terms of RAW recording, Z Cam already has a partially debayered ZRAW format similar in concept to Blackmagic RAW. This is already available for the Z Cam E2, and I'm sure it will be added to the other cameras as well. The big advantage of BRAW, however, is that support for it is integrated into DaVinci Resolve. Z Cam obviously doesn't have their own full blown NLE, which means you have to use their software to convert ZRAW into some other format before doing any editing.
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  4. #14  
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    Quote Originally Posted by Steve Madsen View Post
    If my Zcam goes down, and has to be returned to China, will it be at my own cost? Will it get through Chinese customs? How long before it gets back? This is a severe limitation to their current business model.
    That's should be everyone's concern and the quality of service. I ordered some CFAST cards from China a couple years back and 4 of them had issues so I had to RMA them. It got lost in Chinese customs (at least that is what they claim it was last log). It took me 6 months trying to get the insurance paid and at the end I lost both in money and time. I have not bought anything there other than if they have a distributor (like Tilta, Smallrig) or retailer in the USA (like B&H, Adorama). For Z-Cam, they need a service center and customer service that is in the USA (and other key world locations).
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  5. #15  
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    Quote Originally Posted by davedv View Post
    In terms of RAW recording, Z Cam already has a partially debayered ZRAW format similar in concept to Blackmagic RAW. This is already available for the Z Cam E2, and I'm sure it will be added to the other cameras as well. The big advantage of BRAW, however, is that support for it is integrated into DaVinci Resolve. Z Cam obviously doesn't have their own full blown NLE, which means you have to use their software to convert ZRAW into some other format before doing any editing.
    The conversion takes forever even on fast machines, PC only, you have to do basic color correction upfront and conversion is to delivery codecs, so it's not usable imo as of now. That said, this should all get much better in the future.
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  6. #16  
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    Quote Originally Posted by RAWlover View Post
    In 5 years the under $10,000 pro video camera market will be in this order.

    Z Cam
    Kinefinity
    Black Magic
    Who?

    We know most of y'all aren't real pros though cuz yer using speed boosters.

    Every where ya turn somebody is sayin how much better the 4k with a speed booster is than the 6k.
    Zcam will def surpass kinefinity. The CEO is super responsive, the prices are a lot better, they listen to user input and change it fast. Kinefinity while cheaper then RED and ARRI is still a lote more expensive then BM or Zcam.

    I am def interested in the Zcam F6. Only bummer is ZRAW, I wish they implemented BRAW or prores raw. The h265 codec is useless, so waiting on prores atleast.
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  7. #17  
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    It's expected that we will be seeing an 8K FF URSA Mini Pro G3 in the months ahead.
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  8. #18  
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    Quote Originally Posted by EYu View Post
    It's expected that we will be seeing an 8K FF URSA Mini Pro G3 in the months ahead.
    Nobody needs or wants 8k. I rather have a 2k arri alexa in a small and affordable body.
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  9. #19  
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    Quote Originally Posted by polaroid22 View Post
    Nobody needs or wants 8k. I rather have a 2k arri alexa in a small and affordable body.
    I agree with this sentiment, but that is where the high end is going, so if the low end can have it at a reasonable price, many will want it. I would hope that things stabilize at 8k full frame, can't possibly need more than that.

    As a point of reference though, I attended an ASC Masterclass in the spring and we shot the demo projects mostly on Alexa, I think the 3.2k open gate. We also had a Panavision (RED) 8k for comparison. Grading in 4k at EFILM there was no comparison, Alexa stomped the Red in terms of cinema aesthetics, and you could not see resolution difference on the 4k projector.
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  10. #20  
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    Quote Originally Posted by dop16mm View Post
    Alexa stomped the Red in terms of cinema aesthetics, and you could not see resolution difference on the 4k projector.
    What was the biggest standout in your mind? Any "ah ha" moments for you while watching the comparison?

    Shawn
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