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Z-CAM E2 camera is coming with 4K at 120fps
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    • 4/3" Sony WDR CMOS sensor, pixel size = 4.63..m
    • 4K 120fps, 10 bit color, H.264 & H.265 (10 bit), 100Mbit for 30fps
    • All video modes
      • 4096x2160 120p/60p/50p/30p/25p/24p
      • 3840x2160 120p/60p/50p/30p/25p/24p
      • 1920x1080 240p/120p/60p/50p/30p/25p/24p
    • MOV and MP4 containers, AAC audio
    • Micro Four Thirds lens mount
    • iOS app for control setting & live preview
    • 4K 60fps HDMI, SDI (option)
    • Deep Learning Engine built in with SDK
    • Stereo microphone
    • CFAST 2.0 media
    • Global shutter variant to be available soon
    • USB-C port with USB 3.0 speed, HDMI 2.0 port, COM port, Lanc
    • 3.5mm mic in, 3.5mm audio out
    • 802.11n Wi-Fi
    • 1 x Gigabit Ethernet port for control setting & live streaming
    • Cheap Sony NP-F batteries
    • DC In - 12V 5A Lemo connector
    • 91mm x 98mm x 80mm body from alu
    • Price - $1999


    • Z CAM™ E2 camera unit
    • Lemo power cable
    • DC D-Tap connector cable
    • AC/DC Power Adapter Unit
    • Power Connection Cables (US, UK, EU)
    • Quick User Guide
    • Protective Carrying Case
    455 x 400 - 38K
    760 x 488 - 23K
  • 327 Replies sorted by
  • @Markr041 I'm having some trouble matching the footage to Sony and Panasonic--any suggestions? The grey point and colors are really different.

  • ProRes 422 HQ 10bit color for Fall colors!

  • Test of ZRAW. Workflow: shoot in ZRAW (over 1,000 Mbps), use Z cam conversion software->almost-lossless ProRes 10 422 (over 1,000 Mbps)->DaVinci Resolve using the Z Cam plug-in to covert from Slog2->Rec709 and to grade. What's the theoretical gain: skips any degrading noise reduction in the camera and other "fixes" like sharpening. So higher actual resolution. This video has dim and high light scenes and there is no sharpening or noise reduction in post.

  • Nitze cages for E2

  • The Ultimate Challenge: 4KDCI Slow Motion (120P) at Night!

    This is something the E2 can do and almost no other cameras less than a lot of money can.

    To max the capability at 120 FPS I used a Speedbooster and F2.0 lens - > F1.2 wide open (Canon IS EF 35mm). I shot using a 1/240th shutter for appropriate motion (no trails or excess blur) using Flat mode.

    Graded to look like it did - dark, cinematic.

  • the above video is about the E2C not the E2 and does not belong here.

  • @Vitaliy_Kislev It is ToF and it will be an attachment for the E2.

  • @jleo

    As far as I understand it is ToF camera, not ultrasonic.

  • Z CAM Auto Focus Module,

  • Z Cam E2 + Metabones Speedbooster XL + F2->F1.2 Lens = See in the Dark!

    There are no MFT prime fast lenses < 50mm (FF eq.) with OIS. Canon has the EF 35mm IS F2 lens. So, if one wants to shoot handheld in the dark with the E2 native won't do, one needs to go the speedbooster route.

    How good is the EF 35mm - is it really stable, does the AF give accurate results? Can you really see in the dark?

    Here is my test video. One goes from outdoors successively to darker and darker areas in a natural history museum. All indoors scenes shot at F1.2 (which is what the Speedbooster does). In the last scenes only when I looked at the footage could I see the colors of the chairs (gold and purple). With my own eyes (in good shape), it was all just dark. The camera and lens makes dark into light:

  • How good is the E2 internal audio for capturing the sounds of the environment one is shooting in? It is funny that most videos posted to show off new cameras, including by "influencers" and even talented ones (Philip Bloom) dump the camera's audio track and overlay music. Often scenes are shot with long telephoto lenses and so there could never be audio matching what one sees using camera mics (Philip Bloom). and audio is supposed to be 50% of video, and I do not think this refers to music tracks alone.

    Anyway, for street video where one gets close to subjects big rigs, including external mics, are not possible; one has to rely on what is built in:

  • 4KDCI 120P slow motion examples:

  • WDR (not HDR) video. WDR mode expands the DR by two stops by having different subpixels use different shutter speeds (exposure) for highlights and low lights simultaneously (no ghosting). This was an assignment to shoot wall art (outside) and its production in bright light and shade. Color was important, so (4K) ProRes 422HQ 10bit Zlog2.

  • They mentioned they saw a big uptick in sales once they added ProRes to the Z Cam E2

  • 160P with Neat Video noise reduction.

  • Shot using the Flat picture profile, which has a log gamma to maximize dynamic range, and REC709 color. Shot in ProRes 422 HQ 10bit to maximize color reproduction.

    Olympus 12-100mm PRO lens.

  • Claimed DR 14 stops in no where close to real DR 10.5 ?

  • @markr041

    One thing about the test is that BM raw can actually have non switchable noise reduction build in.

    Same as some cameras doing now for stills.

  • ZRAW video correctly exposed:

    No noise reduction.