A little perspective: My experience with filmmaking goes back to the double-8mm era. I learned how to edit broadcast quality film one summer working with a rented Moviola and spools of 16mm film and mag tape. It was a slow, expensive (about $2.50 for a minute of developed color film), process and the equipment needed ranged from a used Bolex H16 (about $3,500 in today's dollars) to Arriflexes that cost more to rent than an apartment in downtown Manhattan. Making a short sound film required either a lot of outside financing or a trust fund.
The advances in video technology since then are nothing short of astounding to anyone who started in the film era. By the early 2000s it was possible to shoot theatrical quality video, and in 2005 the Red Camera came out- a camera that produced 4K video, shot in a non-proprietary format, and cost less to buy than it cost to rent the then-standard Sony cameras for a day. That led to an explosion of small, inexpensive, 4K cameras and the inclusion of 4K video on most new DSLRs. Today, the independent video you see on TV or on the Internet is as likely to have been shot with a DSLR as with a dedicated theatrical camera. That led to even smaller dedicated video cameras like the Blackmagic cameras that used various digital camera lens mounts, and cameras like the one under review- a 4K digital video camera that weight just a few ounces, and fits in the palm of your hand.
The micro-four thirds mount has become a standard for the smallest 4K video cameras, and that gives the independent video producer a lot of options for not very much money. I tested the Micro with a number of my dedicated MFT lenses ranging from an 8mm fisheye to a 100-300m zoom, all of which functioned well with the Micro. I also tried a number of non-MFT lenses in manual focusing mode via adapters, including a 180mm/2.8 ED Nikkor, a 25mm C-mount lens, and for good measure, my 1400mm Questar telescope. Those last three three really involved hanging the camera off the lens rather than the other way around, but the Micro is so light it's easy to do. There are also now a number of dedicated MFT video lenses that provide useful focal lengths, manual focusing, and fast f/ratios for depth of field control, like Rokkinon's 14m/2.8 which sells for under $350.
The small size of the Z-cam E1 makes it tempting to shoot with it hand-held, but that's not really recommended; hand held video displayed on a 36-55" monitor is pretty vertigo inducing. Better to use a simple commercial or DIY "steady cam" type mount (there are plenty of how-tos on the 'net) or a tripod. The real power of this camera, though, is that it's light enough for applications where a 4K capable DSLR would be too big and heavy, like a medium sized drone or other R/C aircraft, or a kite, or even a large amateur rocket (assuming it could take the acceleration). It's light enough for helmet mounting or, I imagine, collar mounting on a large dog. The ability to control the camera from a tablet or smartphone via Bluetooth or WiFi makes this a relatively easy option.
I'm particularly excited about the E1's high speed capabilities. Along with a selectable 24/30fps in 4K resolution, it can record 60fps at 1080p HD resolution, and 240fps- that's ten times normal frame rate- at 720p HD. Not a true high speed video system but fast enough to slow down a lot of phenomena and do it it HD to boot. The claimed light is ridiculously high, too, with full resolution claimed at 6,400 ASA and a top speed of 102,400, thanks to an improved noise reduction algorithm. It has a dynamic range of 11 stops, which is really mind boggling to those of us who shot Kodachrome, with its 1-1/2 stop range. Thanks to the remote control capability all sorts of time intervals are possible, too, which is handy for speeding up plant growth and other natural phenomena.
The E1 isn't cheap, and those who already have 4K capable cameras aren't going to want to run out and replace their with this camera. Someone starting from scratch, though, might well consider it a viable option that costs around a third of what a new Blackmagic MFT video camera costs. Using the aforementioned Rokkinon lens and an external microphone and steadycam-type mount, it would be possible to build a video system capable of making theatrical quality videos for not much over a thousand dollars. Add a decent laptop for video editing and you're a full video production studio for less than three grand. Not bad.
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From the manufacturer
E1 At A Glance
- 4k Ultra High Definition Video
- Micro Four Thirds Lens Compatibility - Interchangeable Lens System & 16 Megapixel Photos
- Incredible Low-Light Noise Filter Performance
- Lightweight Magnesium Housing
- WiFi & Bluetooth Connectivity Enabled & iOS & Android Applications
- Drone & Aerial Photography
E1 Camera by Z - Beyond Real
Beyond Real.
E1 Camera by Z is the world’s smallest 4K, ultra high definition camera with a micro four thirds (MFT) interchangeability lens system. A revolution in video and photo capture that fits in the palm of your hand. It’s Beyond Real.
Z Camera was founded in 2013 by a vibrant team of digital imaging and information technology experts. We love to dream and push boundaries of what is currently available in video and photo engineering. Z Camera’s goal has always been to separate ourselves from traditional video and photo products by reimagining everything from the ground up!
The E1 Camera by Z Camera is a complete innovation within the video and photography industry from people with passion! It delivers phenomenal quality without having to spend thousands of dollars. It’s the smallest 4k, body only, ultra-high definition camera with an interchangeable lens system.
4K Ultra High Definition Recording
E1 captures cinema-quality 4K video from a camera that fits in your pocket.
The E1 camera by Z records 4k (4096 x 2160) and UHD (3840 x 2160) video recording in .MOV format using a H.264 high profile compression codec. 4K ultra high definition video modes use a slight crop of the sensor to provide full pixel readout for incredible quality imagery with reduced moire and aliasing. It also supports various other recording resolutions, giving you greater control over your videos.
E1 Video Resolutions
- 4096 x 2160 / 24 fps
- 3840 x 2160 / 24, 25, 30 fps
- 2880 x 2160 / 24, 25, 30 fps
- 1920 x 1920 / 24, 25, 30 fps
- 1920 x 1440 / 24, 25, 30 fps
- 1920 x 1080 / 24, 25, 30, 50, 60 fps
- 1280 x 720 / 50, 60, 240 fps
- 840 x 480 / 25, 30 fps
Compatible with micro four-thirds lenses made by:
- Olympus
- Panasonic
- Leica
- Sigma
Micro Four Thirds Lens Compatibility - Interchangeable Lens System
The E1 accepts a wide range of autofocus and manual focus micro four-thirds lenses.
The E1 accepts a wide range of autofocus and manual focus micro four-thirds lenses.
With the interchangeable lens system the E1’s micro four-thirds lens mount can accept lenses from many brands such as Olympus, Panasonic Lumix, Leica and Sigma. The Micro Four Thirds framework has a sensor size identical to a 4/3-inch video tube, and enables user to accomplish a shallow depth of field.
The Most Advanced Technology Available
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Incredible Low-Light Noise Filter PerformanceThe advanced 3D noise filters uses advanced motion compensated temporal filtering technology (MCTF) and allows for stunning low-light performance with the camera’s ability to shoot at up to 102,400 ISO while maintaining high image quality, up to 6400 ISO. |
Lightweight Magnesium HousingThe E1 is one of the most compact interchangeable lens 4K camera’s available. Weighing just under 8.9 ounces (without a lens) and measuring only 3 x 2.2 inches and 2 inch in depth, the camera can literally fit into your pocket and can even be mounted and work in similar ways as an action camera. Playback videos and photos or perfectly frame your next shot using the 2.5 inch LCD screen. The durable lightweight die-cast magnesium body is specifically designed to dissipate the heat the image processor produces when recording 4K video. |
Remote Camera Control via iOS/Android AppThe iOS and Android applications provide users the ability to remotely power 'on', connect, preview, control and monitor settings, trigger, live stream, share, manage and download content with ease as the E1 camera is enabled with integrated Wi-Fi 802.11n, and Bluetooth 4.0. |
Drone and Aerial PhotographyFor the professional and amatuer aerial and drone operator the camera can be controlled remotely and Aerial Photographers (AP) or pilots can power it 'on' remotely and download content to a connected iOs or Android device while on a shoot and lightweight which means longer flight times as it’s only 210g (battery:42g) One of the most functional qualities when using Z Cam is the ability to transmit in near real time on all the hardware applications that you prefer to use like Paralinx, and DJI Lightbridge. |
Box Contents
Body: Magnesium Alloy Camera Frame (No Lens).
Weight: Just under 8.9 ounces.
Imperial Dimensions: 3 x 2.2 x 2 inches.
AC/DC Power Adapter Charger.
Two (2) 2000mAh rechargeable batteries included.
User Manual.
Warranty Card.
A tremendous amount of video capability in a very tiny, light, package.
A little perspective: My experience with filmmaking goes back to the double-8mm era. I learned how to edit broadcast quality film one summer working with a rented Moviola and spools of 16mm film and mag tape. It was a slow, expensive (about $2.50 for a minute of developed color film), process and the equipment needed ranged from a used Bolex H16 (about $3,500 in today's dollars) to Arriflexes that cost more to rent than an apartment in downtown Manhattan. Making a short sound film required either a lot of outside financing or a trust fund.The advances in video technology since then are nothing short of astounding to anyone who started in the film era. By the early 2000s it was possible to shoot theatrical quality video, and in 2005 the Red Camera came out- a camera that produced 4K video, shot in a non-proprietary format, and cost less to buy than it cost to rent the then-standard Sony cameras for a day. That led to an explosion of small, inexpensive, 4K cameras and the inclusion of 4K video on most new DSLRs. Today, the independent video you see on TV or on the Internet is as likely to have been shot with a DSLR as with a dedicated theatrical camera. That led to even smaller dedicated video cameras like the Blackmagic cameras that used various digital camera lens mounts, and cameras like the one under review- a 4K digital video camera that weight just a few ounces, and fits in the palm of your hand.The micro-four thirds mount has become a standard for the smallest 4K video cameras, and that gives the independent video producer a lot of options for not very much money. I tested the Micro with a number of my dedicated MFT lenses ranging from an 8mm fisheye to a 100-300m zoom, all of which functioned well with the Micro. I also tried a number of non-MFT lenses in manual focusing mode via adapters, including a 180mm/2.8 ED Nikkor, a 25mm C-mount lens, and for good measure, my 1400mm Questar telescope. Those last three three really involved hanging the camera off the lens rather than the other way around, but the Micro is so light it's easy to do. There are also now a number of dedicated MFT video lenses that provide useful focal lengths, manual focusing, and fast f/ratios for depth of field control, like Rokkinon's 14m/2.8 which sells for under $350.The small size of the Z-cam E1 makes it tempting to shoot with it hand-held, but that's not really recommended; hand held video displayed on a 36-55" monitor is pretty vertigo inducing. Better to use a simple commercial or DIY "steady cam" type mount (there are plenty of how-tos on the 'net) or a tripod. The real power of this camera, though, is that it's light enough for applications where a 4K capable DSLR would be too big and heavy, like a medium sized drone or other R/C aircraft, or a kite, or even a large amateur rocket (assuming it could take the acceleration). It's light enough for helmet mounting or, I imagine, collar mounting on a large dog. The ability to control the camera from a tablet or smartphone via Bluetooth or WiFi makes this a relatively easy option.I'm particularly excited about the E1's high speed capabilities. Along with a selectable 24/30fps in 4K resolution, it can record 60fps at 1080p HD resolution, and 240fps- that's ten times normal frame rate- at 720p HD. Not a true high speed video system but fast enough to slow down a lot of phenomena and do it it HD to boot. The claimed light is ridiculously high, too, with full resolution claimed at 6,400 ASA and a top speed of 102,400, thanks to an improved noise reduction algorithm. It has a dynamic range of 11 stops, which is really mind boggling to those of us who shot Kodachrome, with its 1-1/2 stop range. Thanks to the remote control capability all sorts of time intervals are possible, too, which is handy for speeding up plant growth and other natural phenomena.The E1 isn't cheap, and those who already have 4K capable cameras aren't going to want to run out and replace their with this camera. Someone starting from scratch, though, might well consider it a viable option that costs around a third of what a new Blackmagic MFT video camera costs. Using the aforementioned Rokkinon lens and an external microphone and steadycam-type mount, it would be possible to build a video system capable of making theatrical quality videos for not much over a thousand dollars. Add a decent laptop for video editing and you're a full video production studio for less than three grand. Not bad.
Top reviews from the United States
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Reviewed in the United States on June 2, 2016
The advances in video technology since then are nothing short of astounding to anyone who started in the film era. By the early 2000s it was possible to shoot theatrical quality video, and in 2005 the Red Camera came out- a camera that produced 4K video, shot in a non-proprietary format, and cost less to buy than it cost to rent the then-standard Sony cameras for a day. That led to an explosion of small, inexpensive, 4K cameras and the inclusion of 4K video on most new DSLRs. Today, the independent video you see on TV or on the Internet is as likely to have been shot with a DSLR as with a dedicated theatrical camera. That led to even smaller dedicated video cameras like the Blackmagic cameras that used various digital camera lens mounts, and cameras like the one under review- a 4K digital video camera that weight just a few ounces, and fits in the palm of your hand.
The micro-four thirds mount has become a standard for the smallest 4K video cameras, and that gives the independent video producer a lot of options for not very much money. I tested the Micro with a number of my dedicated MFT lenses ranging from an 8mm fisheye to a 100-300m zoom, all of which functioned well with the Micro. I also tried a number of non-MFT lenses in manual focusing mode via adapters, including a 180mm/2.8 ED Nikkor, a 25mm C-mount lens, and for good measure, my 1400mm Questar telescope. Those last three three really involved hanging the camera off the lens rather than the other way around, but the Micro is so light it's easy to do. There are also now a number of dedicated MFT video lenses that provide useful focal lengths, manual focusing, and fast f/ratios for depth of field control, like Rokkinon's 14m/2.8 which sells for under $350.
The small size of the Z-cam E1 makes it tempting to shoot with it hand-held, but that's not really recommended; hand held video displayed on a 36-55" monitor is pretty vertigo inducing. Better to use a simple commercial or DIY "steady cam" type mount (there are plenty of how-tos on the 'net) or a tripod. The real power of this camera, though, is that it's light enough for applications where a 4K capable DSLR would be too big and heavy, like a medium sized drone or other R/C aircraft, or a kite, or even a large amateur rocket (assuming it could take the acceleration). It's light enough for helmet mounting or, I imagine, collar mounting on a large dog. The ability to control the camera from a tablet or smartphone via Bluetooth or WiFi makes this a relatively easy option.
I'm particularly excited about the E1's high speed capabilities. Along with a selectable 24/30fps in 4K resolution, it can record 60fps at 1080p HD resolution, and 240fps- that's ten times normal frame rate- at 720p HD. Not a true high speed video system but fast enough to slow down a lot of phenomena and do it it HD to boot. The claimed light is ridiculously high, too, with full resolution claimed at 6,400 ASA and a top speed of 102,400, thanks to an improved noise reduction algorithm. It has a dynamic range of 11 stops, which is really mind boggling to those of us who shot Kodachrome, with its 1-1/2 stop range. Thanks to the remote control capability all sorts of time intervals are possible, too, which is handy for speeding up plant growth and other natural phenomena.
The E1 isn't cheap, and those who already have 4K capable cameras aren't going to want to run out and replace their with this camera. Someone starting from scratch, though, might well consider it a viable option that costs around a third of what a new Blackmagic MFT video camera costs. Using the aforementioned Rokkinon lens and an external microphone and steadycam-type mount, it would be possible to build a video system capable of making theatrical quality videos for not much over a thousand dollars. Add a decent laptop for video editing and you're a full video production studio for less than three grand. Not bad.
A tremendous amount of video capability in a very tiny, light, package.
Reviewed in the United States on June 2, 2016
A little perspective: My experience with filmmaking goes back to the double-8mm era. I learned how to edit broadcast quality film one summer working with a rented Moviola and spools of 16mm film and mag tape. It was a slow, expensive (about $2.50 for a minute of developed color film), process and the equipment needed ranged from a used Bolex H16 (about $3,500 in today's dollars) to Arriflexes that cost more to rent than an apartment in downtown Manhattan. Making a short sound film required either a lot of outside financing or a trust fund.Reviewed in the United States on June 2, 2016
The advances in video technology since then are nothing short of astounding to anyone who started in the film era. By the early 2000s it was possible to shoot theatrical quality video, and in 2005 the Red Camera came out- a camera that produced 4K video, shot in a non-proprietary format, and cost less to buy than it cost to rent the then-standard Sony cameras for a day. That led to an explosion of small, inexpensive, 4K cameras and the inclusion of 4K video on most new DSLRs. Today, the independent video you see on TV or on the Internet is as likely to have been shot with a DSLR as with a dedicated theatrical camera. That led to even smaller dedicated video cameras like the Blackmagic cameras that used various digital camera lens mounts, and cameras like the one under review- a 4K digital video camera that weight just a few ounces, and fits in the palm of your hand.
The micro-four thirds mount has become a standard for the smallest 4K video cameras, and that gives the independent video producer a lot of options for not very much money. I tested the Micro with a number of my dedicated MFT lenses ranging from an 8mm fisheye to a 100-300m zoom, all of which functioned well with the Micro. I also tried a number of non-MFT lenses in manual focusing mode via adapters, including a 180mm/2.8 ED Nikkor, a 25mm C-mount lens, and for good measure, my 1400mm Questar telescope. Those last three three really involved hanging the camera off the lens rather than the other way around, but the Micro is so light it's easy to do. There are also now a number of dedicated MFT video lenses that provide useful focal lengths, manual focusing, and fast f/ratios for depth of field control, like Rokkinon's 14m/2.8 which sells for under $350.
The small size of the Z-cam E1 makes it tempting to shoot with it hand-held, but that's not really recommended; hand held video displayed on a 36-55" monitor is pretty vertigo inducing. Better to use a simple commercial or DIY "steady cam" type mount (there are plenty of how-tos on the 'net) or a tripod. The real power of this camera, though, is that it's light enough for applications where a 4K capable DSLR would be too big and heavy, like a medium sized drone or other R/C aircraft, or a kite, or even a large amateur rocket (assuming it could take the acceleration). It's light enough for helmet mounting or, I imagine, collar mounting on a large dog. The ability to control the camera from a tablet or smartphone via Bluetooth or WiFi makes this a relatively easy option.
I'm particularly excited about the E1's high speed capabilities. Along with a selectable 24/30fps in 4K resolution, it can record 60fps at 1080p HD resolution, and 240fps- that's ten times normal frame rate- at 720p HD. Not a true high speed video system but fast enough to slow down a lot of phenomena and do it it HD to boot. The claimed light is ridiculously high, too, with full resolution claimed at 6,400 ASA and a top speed of 102,400, thanks to an improved noise reduction algorithm. It has a dynamic range of 11 stops, which is really mind boggling to those of us who shot Kodachrome, with its 1-1/2 stop range. Thanks to the remote control capability all sorts of time intervals are possible, too, which is handy for speeding up plant growth and other natural phenomena.
The E1 isn't cheap, and those who already have 4K capable cameras aren't going to want to run out and replace their with this camera. Someone starting from scratch, though, might well consider it a viable option that costs around a third of what a new Blackmagic MFT video camera costs. Using the aforementioned Rokkinon lens and an external microphone and steadycam-type mount, it would be possible to build a video system capable of making theatrical quality videos for not much over a thousand dollars. Add a decent laptop for video editing and you're a full video production studio for less than three grand. Not bad.
Images in this review
Reviewed in the United States on November 9, 2016
