Jump to content
Sign in to follow this  
Erik Naso

Z Cam adds Raw Over HDMI

Recommended Posts

This morning Z Cam released firmware 0.95 for all the E2 models. The big addition is ProRes Raw over HDMI with the Atomos Ninja V. I did give it a try and the image is very nice. ProRes Raw is a good option if you want 12 bit recordings with the benefits of Raw and the file sizes while still large are smaller than ProRes 4444. 

  • ProRes RAW (1,680mb/s) = 12.6GB file per 60 seconds
  • ProRes 4:4:4:4 (2656mb/s) = 19.9GB file per 60 seconds
  • ProRes 4:4:4:4 XQ (3976mb/s) = 29.8GB file per 60 seconds

The Ninja V is still in beta and many options on the monitor are not functioning yet. I will eventually rollback the firmware to make it fully functional again.  

The good news all the E2 cameras except the F8 will be compatible with Raw over HDMI opening up a very nice option if you use the Ninja V.

Z CAM E2
Features added:
– RAW output over HDMI (details to be followed)
– File name display on HDMI permanently
– Audio track left/right gain setting adjustable
– Hot pixel algorithm improved for high ISO
– Noise performance improved for high frame rate
– Maximum ISO refined for Z-Log2
– Multicam co-exposure aperture setting sync
Bug fixes:
– In camera playback audio video sync issue
– Multicam master camera AWB one button push to set
– Performance optimization
– Other minor bug fixes

Z CAM E2C
Features added:
– RAW output over HDMI (details to be followed)
– File name display on HDMI permanently
– Audio track left/right gain setting adjustable
– Hot pixel algorithm improved for high ISO
– Maximum ISO refined for Z-Log2
– Denoise Off/Weak/Medium
– Refined shadow area saturation
Bug fixes:
– In camera playback audio video sync issue
– Performance optimization
– Other minor bug fixes

Z CAM E2G
Features added:
– RAW output over HDMI (details to be followed)
– File name display on HDMI permanently
– Audio track left/right gain setting adjustable
– Hot pixel algorithm improved for high ISO
– Maximum ISO refined for Z-Log2
– Multicam co-exposure aperture setting sync
– Resolution 2880×2160 30fps
– Denoise Off/Weak/Medium
– Refined shadow area saturation
Bug fixes:
– In camera playback audio video sync issue
– Multicam master camera AWB one button push to set
– 23.98 & 50 project fps exposure issue
– Performance optimization
– Other minor bug fixes

Z CAM E2-S6
Features added:
– RAW output over HDMI (details to be followed)
– File name display on HDMI permanently
– Audio track left/right gain setting adjustable
– Hot pixel algorithm improved for high ISO
– Noise performance improved for high frame rate
– Maximum ISO refined for Z-Log2
– Programmable button for eND quick setting & auto
– Low jello mode in C5K/5K/C4K/4K/4K 2.4:1
– 2.8K 120fps (2868×1512)
Bug fixes:
– In camera playback audio video sync issue
– Performance optimization.
– Other minor bug fixes.

Z CAM E2-F6
Features added:
– RAW output over HDMI (details to be followed)
– File name display on HDMI permanently
– Audio track left/right gain setting adjustable
– Hot pixel algorithm improved for high ISO
– Noise performance improved for high frame rate
– Maximum ISO refined for Z-Log2
– Programmable button for eND quick setting & auto
– Supports ISO auto
Bug fixes:
– In camera playback audio video sync issue
– Performance optimization.
– Other minor bug fixes.

Z CAM E2-F8
Features added:
– File name display on HDMI permanently
– Audio track left/right gain setting adjustable
– Hot pixel algorithm improved for high ISO
– Noise performance improved for high frame rate
– Maximum ISO refined for Z-Log2
– Programmable button for eND quick setting & auto
– Noise performance improved for high frame rate & high ISO
Bug fixes:
– In camera playback audio video sync issue
– Performance optimization.
– Other minor bug fixes.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Sign in to follow this  

  • Popular Topics

  • New Posts

    • It's a bit like the difference between say RGB and Adobe RGB (kind of) or JPG vs RAW, as there's more information available. It really depends on whether it's necessary for your work. My preference, whether it comes to video or photography, is to record at the highest possible/practical rates to allow for the best post-processing (you never really know when you're going to need it). It requires more storage space, but that to me is a worthwhile tradeoff. Once information is lost, you never get it back. A graphic example: https://i.rtings.com/images/chroma-subsampling/subsampling.png  
    • Thanks. That's very helpful because a C300 II and a 4:4:4-capable recorder is high on my list of candidates. 
    • Thanks so much and yeah will do, and I try to search first also. 😉
    • What are people's general views on gimbals? I have a love/hate relationship with gimbals (I own two relatively lightweight ones) and, in the few years that I've owned them, I simply cannot get to like them. I've tried a cheap Glidecam clone and just hated it, as balancing it was always like trying to get a drunken wife into a car (been there, done that). The gimbals work fine, but they simply can't hold my run & gun rig that weighs 4.3 kg. There are of course gimbals that can hold that weight and newer ones that can do that without having to break down the rig for full movement, but you then end up with a huge weight to carry around (and I'm able to carry some fairly hefty weight). For the sort of work that I was doing before COVID, I was using an Easyrig clone to support a very heavy rig, but I subsequently reduced the weight to a nice 4.3kg and did away with the support (wandering around some places looking like a Ghost Buster started to wear thin). But there are times when I want to move about with the rig and get reasonably stable footage, which kind of points to a gimbal of some sort. Recently I did some testing with a counterweight system, by attaching my monopod to my rig, with the monopod extending horizontally from the rear of the camera (aligned with the lens). The results from the monopod experiment were actually quite surprising, giving an almost gimbal like movement with a bit of stabiliser added in post. Noting that I can't Ninja walk (more like Bobba Fett sitting on my shoulders) the results looked little different to shots using another camera on one of the gimbals. This could be an option with some practice. Gimbals are all the rage at the moment, but are they really an ideal option for documentary style work, which is my main aim? Has anyone come up with a portable solution that doesn't involve a gimbal?  
    • Do check requirements of any festivals you plan to submit to, as well as DCP specs. Many may be fine with whatever format, but some may be fussy. You may find capturing in 16:9 (but framing for 2.35:1) and then editing for 2.35:1 a safer option, so, if necessary, you can re-edit for 16:9 later down the line if required (may involve re-doing some “pan and scan”, but with the vertical alignment). Unless of course you’re shooting anamorphic, then you can’t do this and will need to crop your master heavily to create a 16:9 version. Also consider that, if theatrical release is intended, it’s unlikely to be 16:9, but rather DCI 4K or DCI 2K (1.89). So, if you can shoot in one of those formats instead of UHD/HD, then do! The few pixels of extra width will help you anyway if you’re going for a wider look, and will mean slightly less cropping of the height is needed (you’ll need to work out the correct crop to cut a 2.35:1 portion out of 4096x2160 or 2048x1080). Agree that creative intent is a part of choosing what to do here.  
×
×
  • Create New...