Man, I def appreciate what you've been doing testing cameras and giving sample footage to download. I've been looking everywhere for downloadable footage for this camera and the E2-F6. Thank you!
Thank you for the review. Just subscribed. The gym footage is just gorgeous. So organic. That’s the one thing I can say about dedicated cinema cameras that mirrorless/DSLRs just don’t seem to get quite right: the organic feel. Having been shooting video with mirrorless for a few years now, I am considering stepping up to a dedicated cinema camera. The Z Cam may be the ticket.
Great video! I was torn between the BMPCC and the ZCAM. I eventually went with the ZCAM and I love it. Funny, I use my T5 too...works great! Using the camera, stripped down with iPhone app and CFast, give you a professional camera and allows you to be inconspicuous while shooting!
That's a really tough choice for sure. The edge that the BMPCC has is BRAW and a built-in screen. The ergonomics, IO and form factor go to the ZCam, hands down.
@@joenicklo agreed! I wish, WISH, ZCam had better RAW capabilities. When the face of the company openly tells customers to use ProRes Raw over their own proprietary ZRAW format, then something is up. Maybe future updates, but, I really love the way BRAW recovers highlights...
@@MelnardEdaCinematography123 I had the S6G for about 2 weeks. I honestly wasn't impressed, to the point that I felt no need to even do a video. In fact, I send the S6G back today. Seeing as they're both $6000, I'd go with the Komodo over it simply due to the better user interface and REDCODE. Otherwise, the E2-S6 is a way better value than the Komodo...in my opinion.
Thanks soo much Nelson for the review...am young filmmaker in Ghana 🇬🇭 and am preparing to shoot my next Humanitarian action film under low budget. I just came across the Z CAM..and for the past 3 days I have been watching many reviews on the camera...your video appears to be highly convincing and impressive... am considering buying the E2-S6.... cause i was really confused chosing between the E2-S6 and the E2-F6...but you have helped me to make a decision...thanks alot
@@joenicklo We are really enjoying it so far! Learning how to program the quick settings. you could make a whole video on how to rename the quick settings too! Big plans for this camera come the summer.
New SUB! I’ve binged-out several of your videos the last couple of hours tonight. I’m really loving your approach, the look, content, and just overall vibe. Probably sounds goofy, but this channel feels “cozy”. Looking forward to viewing the rest of the vids and those to come.
I keep bouncing between wanting the BMPCC 4K, 6K, and Z-Cam. Now that I've gone to Sony, I REALLY need someone to release some E-mounts, or the new FX6 may become the default choice when the time comes. Fantastic video, better than any other "first impressions" I've seen.
@@joenicklo really ? Wow ! And I was going to pull the trigger on the E2 M4 and an MFT lens this evening ! You might have just changed my plans for the better ! See, I have the Sony 18-105 f/4 PZ which is an awesome lens. It's really "movie oriented" and it even acts parfocal on Sony cameras (I think this is done in software). It's the best lens I've ever had in that price range and I was really having a hard time letting it go. That's an APS-C lens, though. I wonder if it wouldn't be more suited to E2 S6 ?
Thanks again for the sample footage. I tried to color grade the footage of the woman in the gym and I was shocked how the z cam plugin in Premiere and simply applying the zraw2 lut just made it come alive. That was honestly the best looking footage I've seen on my monitor, so I can't use that as an excuse anymore. :) I noticed that the footage was .mov too but that confuses me because I don't understand the relationship between Prores, zraw, etc. and the file format. I thought .zraw was a thing. I have to learn that and understand that better.
Hey brother, appreciate you checking it out. You're very welcome for the footage downloads, glad it helped you. Those shots were ProRes 422 or HQ, I don't recall at this point. If it was ZRAW, the extension would be .ZRAW. I'm going to do another video soon with some updated settings now that I've learned the camera some more. Stay tuned and be sure to join the Discord channel: discord.gg/AZwHku5
Due to how changing framerates on the go is a big hassle on the camera, it's one of the reasons why I've stayed away from Z Cam currently. Changing framerates with a button like on the Blackmagic cameras is a much needed feature, at least for me.
There is a lot to like about this camera. I think it deserves serious consideration if you plan a purchase. I can't justify my own cinema camera . .. I rent. Great show!
Great video! I also have the S6 and love it! Btw, the Aperture button is mapped by default to custom button 2. Just so you know it's there by default, at least on my unit.
Great video! I'm looking to upgrade from my GH5 and I was leaning towards the s1h to get the full frame perspective but the Z cam just seems like more bang for my buck and I like that it can use a MFT and EF mount as I have a couple MFT lenses.
@@joenicklo yeah I thought of the bmpcc 6k but didn't see too many advantages over a bmpcc 4k with speed booster. I think I'm worried the z cam will be glitchy and have silly errors since it's a new brand not sure I can trust it on a commercial shoot
I know this video came out a long time ago (I'm jumping around videos on your channel Joe, forgive me) but this was a great review! I'm looking into possibly getting an M4!
Great review. I'm so close to pulling the trigger on this. I was looking at the M4 but would need to buy the $500 metabones to make my Rokinon F-mount cine primes work. The S6, it seems a $30 lens adapter would work. Also, love the clips of Hobe Mountain tower at JD State Park. I'm there all the time at the mountain bike trails.
I noticed you used the Sigma 16-35mm F1.8 lens. Its an APS-C lens. Does it cover the full sensor on the e2-s6? Would the F2.8 14-24mm FF lense be better?
@@joenicklo Thank you for the response. Are there any downsides to using a full-frame lens like the Sigma 14-24mm f2.8 on the 35mm Sensor? I'm thinking if it works I could also use that lens on a Z-Cam e2-f6 FF Camera.
I struggled for 2 months on whether to buy the Z Cam or the BMPCC 6K. I ended up getting the BMPCC 6K and have been very happy with the footage. I also drop Adobe which was a big plus and money saver.
Blackmagic needs to make the Blackmagic Box Cinema Camera 4K/6K or simply make a new version of their Blackmagic Design Micro Cinema Camera. I really like the box system and think they should jump on it.
You just forgot to say on Recording Medias that you can also record on 2,5" SSDs using Atomos Ninja V monitor by HDMI, and it will add ProRes RAW format as another codec you can record using Zcam E2 (its a very important information , because at least in my opinion ProRes RAW is the best codec you can take from this camera).
IMO the Ninja V is a must-have pairing with the Z-cams. Prores Raw is way easier to work with than ZRaw, and the SSD storage media is much cheaper than CFast. I honestly don’t know why anyone would use the Z cam without the Ninja.
@@BillRey there're way to many inconsistencies on ninja v and zcam. I am very unhappy with it half the frame rates and codecs only allow 720p recording which is rediculous.
Sorry, I used to do free download footage but people started taking advantage of it by using it in paid work. You can get free sample footage by becoming a channel member though.
The download footage isn't available anymore. Any future plans to upload again or provide more? Or, any tips on where we can get some more? I appreciate it.
@@joenicklo This worked Great! Thank you very much! If I can grade these half as good as you did, I'm blaming you for all of my Z Cam expenses. lol. Thanks again for the reply and the sample footage. I really appreciate it.
Since the last firmware update (which came out after this video), the camera will do internal 422 HQ. As far as frame rates go, you can record C4K 2.4:1 at 100fps in ProRes 422 (10bit) and 2.8K at 120fps in ProRes HQ. On the Ninja V+, you can record up to 4K DCI at 60p in ProRes RAW (12 bit). Hope this helps!
That was with the 3400mAh battery, the smaller one. The larger battery I didn't pay attention to how long I shot for but it's also a generic, older battery compared to the one that came with the rental.
@@Codywpreston Open Gate up to 30 in ProRes 422 6K & C6K up to 48 in ProRes 422 / 30 in ProRes HQ 6K 2.4:1 up to 60 in ProRes LT / 50 in ProRes 422 / 30 in ProRes HQ 4K up to 75 in LT and 422 / 60 in 422 HQ C4K 2.4:1 up to 100 in LT and 422 / 60 in HQ S16 up to 90 for LT, 422 and HQ 2.8 & HD up to 120 in LT, 422 and HQ Hope this helps.
What about high speed recording? weather it being sports IE automotive racing baseball or the shooting sports? does it really slow down so you can watch it in slow motion? Looking for a camera
Great vid man, first time I hear of this camera. I've been shooting on the Canon 80d for RU-vid Vids and my shorts, but I'm looking at upgraded to a cinema camera soon for better quality and this just might be something I'll try out. My plan is to rent a bunch of different cinema cameras first and see what works best for me. cheers!
Renting is an excellent decision. Be sure to check out my review on the Blackmagic Pocket 4K. It's also a very viable upgrade option for you. Maybe even the Pocket 6K.
Hello friend! Really nice video! Very good.. Im really thinking about switching from my bmpcc 6k på the zcam. BUT I need to know - when shooting in prores flavors (like 422, LT and so on), can I still record in 6K? I'm not interested in ProRes RAW or h.265, but would like to shoot in prores files in 6K, either in camera, or on my Atomos Ninja V. Is this possible? Thank you for your time
Well to elaborate, you cant record 6K ProRes RAW over HDMI. I don't think any camera or recorder can do that due to the limitations of HDMI protocol however you can record 6K in ProRes depending on the frame rate.
Great question. I really like both, but for ME and my business, the Z Cam was the better decision. For a solo operator, I think that the Z Cam is the better choice and certainly the better value.
@@joenicklo good to know! I’m new and nervous to purchase my first cinema camera and almost debating just sticking with getting something like the 1dx mark 3 or the c70. With friendlier use as I shoot on canon mirrorless and dslrs but diving into doing external vs internal, camera controlling monitors, etc gets a bit overwhelming.
I suggest you rent the camera and give it a try. Coming from a DSLR body it may be a big change for you. The C70 is a very pricey camera for what you get, and I think the E2-S6 is a way better value.
@@joenicklo any rental websites that do a package? I have lenses but idk if the monitor I have will be compatible and a cage would be create. It’s a large investment that I know will pay off but if I cant rent the camera with the equipment it needs then it’s not a true test of its ability
Love this camera wish I could put my Sony glass on it though can’t find a mount. I purchased metabones EF to Emount and found out it’s way too small for the super 35EF mount any solutions? Thank you
@@joenicklo Thank God I spent $380 on a metabones that doesn’t fit I didn’t realize the EF mount on the Z cam is so much larger than a standard EF mount I am new to cinema cameras of this caliber
I'm waiting on an email response from Z-Cam, trying to build a 3D rig with preferably the S6 since I already have EF lenses, plus the extra res would be nice. Anyway, ?: is there a way to genlock these cameras? I know the E2 4K has multi cam sync but I don't know if that's the same as genlock. I need the frames to fire at the same time between 2 cameras.
@@joenicklo Yeah, I'm getting responses from the CEO Kinson Loo, but more confusing really than helpful. He said they only have Z-cam sync, not genlock. I know there is a sync cable for the E2 model and it also has a COM port adapter for timecode input, that would be genlock, lol. And I even read there was in menu a way to set external timecode. And in the specs on both the E2 and the S6 they mention manual timecode. But the S6 doesn't have that COM port, nor the sync port that the E2 has so I don't know. He said the S6 supports sync too and the S8. So I'm even more confused. No tech support email, it just goes to Kinson. I have a feeling only the E2 model is what you would call genlockable, either with the sync cable or with the timecode adapter.
@@joenicklo right, well I'm surprised they don't have a tech support email, there's no other email available on their website. I don't need to talk to the CEO directly, lol. I feel bad emailing him wasting his time. I just figured out he meant the S6s/S8s models. Those models are not on their site. It shows up on BH for 2999.00 special order as "with sync" so I'm guessing it will work with those sync cables. Maybe that model has that port. But I just need to know if their sync is the same as as genlock. I need the cameras firing at the same time. I'm not sure why it wouldn't be the same because what would you need the cables for? Why not just hit both rec buttons at the same time? Which wouldn't be in sync of course, hence the sync cables which gets precise recording. Well, I'll keep researching. Find out sooner or later.
Ok, figured it out after emailing back and forth and more research on sync, timecode and genlock. So several of the models, E2, S6s/S8s have sync, the E2 has timecode input as well but none of that will actually genlock the cameras. Sync and TC are not genlock, the cameras will eventually drift apart even if in sync at start. So the answer is none of the Z-Cam models will work. I see the Panasonic GBH1 has a proper genlock input so that's what I was looking for. It's just too bad it's MFT, really want EF mount as I already have lenses. Oh well.
If you like the blackmagic ecosystem then stick with that. BM will come out with a cube style cinema camera that fits in between the Ursa and P6K. BM is one of the last and leading camera makers to do a cube. If you don’t believe me then why has canon, Panasonic, Zcam, red, arri all put out cube-style in the last 6 months?
Thanks for the review, but unfortunately I couldn’t finish it because your dialog is way too low. When commercials come on they are extremely loud by comparison. Please look into a simple compressor 3:1, fast attack, set threshold to reduce by 6db on normal dialog. The best? Fabfilter C2, works on any NLE, That and the Q3 EQ are lifesavers for better audio. Let me know if you fix these issues, it’s hard to subscribe or watch otherwise. Thanks again.
Appreciate the feedback. You’re the first to mention it BUT I did notice it when I went back to watch this a few times, unfortunately there’s nothing I can do about it since RU-vid won’t allow us to re-upload without making an entirely new video. Watch some of my newer videos. Let me know if those are more in line with proper volume. I’m using izotope rx’s loudness control now. I will look into Fabfilter though!
I don't know why working cinematographers compare cameras in different price points. If you can afford a Red KOMODO 6K you are going to get a Red. If you can only afford a BMPCC4k, thats what you are going to get. The only conversation is maybe this camera vs the BMPCC6K which is still a little cheaper as of 11/20. As a cinematographer and editor I would never pic zcam. The color science is inferior and the ease of editing is not up to par with Red or Blackmagic. With that said, Zcam has come a long way and I think their products are promising.
I disagree 100% that if you can afford a Komodo you'd get it. I can afford one, I don't think it's the right decision for my business right now. I can't speak for anyone else but I personally compare cameras in different pricepoints because they have similar specs. I'm not comparing a Gemini to the ZCam. That would be stupid. Also, I'm not sure what you find difficult about editing ZCam footage. I was able to edit, playback and grade the ProRes HQ footage just fine. H265 required me to generate optimized media.
@@joenicklo I really appreciate your response. My goal in responding was more geared toward anti consumerism than to the points you made. I understand comparing specs, but I get lost because most specs don't matter without context. So many new filmmakers watch videos like this, get caught up in the specs and forget that cameras are just a tool. You made some great points but there is so much more to a camera than just the camera. Great movies have been shot on cameras with 1/10 of the features of this camera. Question? Imaging a new filmmaker getting this camera with a few lenses, a mic, a gimbal/tripod and a few lights with dreams of making their first movie. What would you say about this camera that would help them make a sound decision?
@@thewillandkevshow1465 To answer your question, I'd say it's ease of use and versatility would make it a sound decision. It packs a lot of firepower for $2500, but on the other hand, so does the Blackmagic Pocket Cinema 6K for $2000. As for the comparisons in regards to consumerism, I understand where you're coming from, I totally do but I think that (at least from my point of view) these comparisons help to prove to people that you don't need a camera that will put you in debt to produce high-level work, or work at all. Yes, a camera is a tool. But so is an air ratchet. If you take your car to get new tires, will the mechanic use the cheaper hand ratchet because it's cheaper and achieves the same result? Or will he use the air ratchet because it allows him to get the job done faster and more efficiently?
3 years later we confirm that the Z Cam E2-S6 is useless! especially with so many new cameras coming out this year. you pay thousands of dollars and you can't see what you shoot because it doesn't come with a monitor! well thought guys!
You need a monitor with an ARRI, RED or Sony Venice. Just food for thought. The Zcam also has the F6 Pro model out which has a monitor. Most cinema cameras don’t have built in monitors.
@@PursuitPerfectSystem Damn, sorry for that. As you know I have zero control over exactly how many ads they show, aside from turning off mid-roll ads. That being said...I only recently got my channel monetized so I'm not sure how these things work. What do you suggest?
@@joenicklo in that case then I am sorry man, pretty sure you can control it if you look in the video settings. I think RU-vid takes control if your video features copyright music or similar otherwise you can adjust it all. Do what you think is best for you and what will help you grow and put some cash in pocket. I know how much work goes into this
@@PursuitPerfectSystem No copyright music here. I'm sure if I turn OFF mid-roll ads it would help. Either way, thank you for checking out the video and I hope you stuck it out to see what I had to say about the camera. It truly is an awesome little cinema camera.
It’s not just the color of footage that’s for sure. To me “cinematic” is creatively lit shots, deliberately framed shots, that are crafted to come out the exact way a DP intends for them to look. This also goes for the movement of the shot. “Cinematic” isn’t solely related to the color of a shot. Let me ask you, what color science looks “cinematic” to you?
@@joenicklo Back to my initial comment, not every camera in the world shoots cinematic. Otherwise Hollywood would have been shooting on many different brand cameras.
